This project presented unique opportunities that are not often found in residential landscaping. The homeowners were not only restoring their 1840's era farmhouse, a piece of their family’s history, but also enlarging and updating the home for modern living. The landscape designers continued this idea by creating a space that is a modern day interpretation of an 1840s era farm rather then a strict recreation. The resulting design combines elements of farm living from that time, as well as acknowledging the property’s history as a horse farm, with staples of 21st century landscapes such as space for outdoor living, lighting, and newer plant varieties. Guests approach from the main driveway which winds through the property and ends at the main barn. There is secondary gated driveway just for the homeowners. Connected to this main driveway is a narrower gravel lane which leads directly to the residence. The lane passes near fruit trees planted in broken rows to give the illusion that they are the remains of an orchard that once existed on the site. The lane widens at the entrance to the gardens where there is a hitching post built into the fence that surrounds the gardens and a watering trough. The widened section is intended as a place to park a golf cart or, in a nod to the home’s past, tie up horses before entering. The gravel lane passes between two stone pillars and then ends at a square gravel court edged in cobblestones. The gravel court transitions into a wide flagstone walk bordered with yew hedges and lavender leading to the front door. Directly to the right, upon entering the gravel court, is located a gravel and cobblestone edged walk leading to a secondary entrance into the residence. The walk is gated where it connects with the gravel court to close it off so as not to confuse visitors and guests to the main residence and to emphasize the primary entrance. An area for a bench is provided along this walk to encourage stopping to view and enjoy the gardens. On either side of the front door, gravel and cobblestone walks branch off into the garden spaces. The one on the right leads to a flagstone with cobblestone border patio space. Since the home has no designated backyard like most modern suburban homes the outdoor living space had to be placed in what would traditionally be thought of as the front of the house. The patio is separated from the entrance walk by the yew hedge and further enclosed by three Amelanchiers and a variety of plantings including modern cultivars of old fashioned plants such as Itea and Hydrangea. A third entrance, the original front door to the 1840’s era section, connects to the patio from the home’s kitchen, making the space ideal for outdoor dining. The gravel and cobblestone walk branching off to the left of the front door leads to the vegetable and perennial gardens. The idea for the vegetable garden was to recreate the tradition of a kitchen garden which would have been planted close to the residence for easy access. The vegetable garden is surrounded by mixed perennial beds along the inside of the wood picket fence which surrounds the entire garden space. Another area designated for a bench is provided here to encourage stopping and viewing. The home’s original smokehouse, completely restored and used as a garden shed, provides a strong architectural focal point to the vegetable garden. Behind the smokehouse is planted lilacs and other plants to give mass and balance to the corner and help screen the garden from the neighboring subdivision. At the rear corner of the garden a wood arbor was constructed to provide a structure on which to grow grapes or other vines should the homeowners choose to. The landscape and gardens for this restored farmhouse and property are a thoughtfully designed and planned recreation of a historic landscape reinterpreted for modern living. The idea was to give a sense of timelessness when walking through the gardens as if they had been there for years but had possibly been updated and rejuvenated as lifestyles changed. The attention to materials and craftsmanship blend seamlessly with the residence and insure the gardens and landscape remain an integral part of the property. The farm has been in the homeowner’s family for many years and they are thrilled at the results and happy to see respect given to the home’s history and to its meticulous restoration.

These wonderful clients returned to us for their newest home remodel adventure. Their newly purchased custom built 1970s modern ranch sits in one of the loveliest neighborhoods south of the city but the current conditions of the home were out-dated and not so lovely. Upon entering the front door through the court you were greeted abruptly by a very boring staircase and an excessive number of doors. Just to the left of the double door entry was a large slider and on your right once inside the home was a soldier line up of doors. This made for an uneasy and uninviting entry that guests would quickly forget and our clients would often avoid. We also had our hands full in the kitchen. The existing space included many elements that felt out of place in a modern ranch including a rustic mountain scene backsplash, cherry cabinets with raised panel and detailed profile, and an island so massive you couldn’t pass a drink across the stone. Our design sought to address the functional pain points of the home and transform the overall aesthetic into something that felt like home for our clients. For the entry, we re-worked the front door configuration by switching from the double door to a large single door with side lights. The sliding door next to the main entry door was replaced with a large window to eliminate entry door confusion. In our re-work of the entry staircase, guesta are now greeted into the foyer which features the Coral Pendant by David Trubridge. Guests are drawn into the home by stunning views of the front range via the large floor-to-ceiling glass wall in the living room. To the left, the staircases leading down to the basement and up to the master bedroom received a massive aesthetic upgrade. The rebuilt 2nd-floor staircase has a center spine with wood rise and run appearing to float upwards towards the master suite. A slatted wall of wood separates the two staircases which brings more light into the basement stairwell. Black metal railings add a stunning contrast to the light wood. Other fabulous upgrades to this home included new wide plank flooring throughout the home, which offers both modernity and warmth. The once too-large kitchen island was downsized to create a functional focal point that is still accessible and intimate. The old dark and heavy kitchen cabinetry was replaced with sleek white cabinets, brightening up the space and elevating the aesthetic of the entire room. The kitchen countertops are marble look quartz with dramatic veining that offers an artistic feature behind the range and across all horizontal surfaces in the kitchen. As a final touch, cascading island pendants were installed which emphasize the gorgeous ceiling vault and provide warm feature lighting over the central point of the kitchen. This transformation reintroduces light and simplicity to this gorgeous home, and we are so happy that our clients can reap the benefits of this elegant and functional design for years to come.

We must admit, we’ve got yet another show-stopping transformation! With keeping the cabinetry boxes (though few had to be replaced), swapping out drawer and drawer fronts with new ones, and updating all the finishes – we managed to give this space a renovation that could be confused for a full remodel! The combination of a vibrant new backsplash, a light painted cabinetry finish, and new fixtures, these cosmetic changes really made the kitchen become “brand new”. Want to learn more about this space and see how we went from “drab” to “fab” then keep reading! Cabinetry The cabinets boxes that needed to be replaced are from WW Woods Shiloh, Homestead door style, in maple wood. These cabinets were unfinished, as we finished the entire kitchen on-site with the rest of the new drawer and drawer fronts for a seamless look. The cabinet fronts that were replaced were from Woodmont cabinetry, in a paint grade maple, and a recessed panel profile door-style. As a result, the perimeter cabinets were painted in Sherwin Williams Tinsmith, the island in Sherwin Williams Sea Serpent, and a few interiors of the cabinets were painted in a Sherwin Williams Tinsmith. Countertop The countertops feature a 3 cm Caesarstone Vivid White quartz Backsplash The backsplash installed from countertops to the bottom of the furrdown are from Glazzio in the Oceania Herringbone Series, in Cobalt Sea, and are a 1×2 size. We love how vibrant it is! Fixtures and Fittings From Blanco, we have a Meridian semi-professional faucet in Satin Nickel, and a granite composite Precis 1-3/4 bowl sink in a finish of Cinder. The floating shelves are from Danver and are a stainless steel finish. Flooring The flooring is a cork material from Harris Cork in the Napa Collection, in a Fawn finish.

This Newport Beach kitchen remodel transformed a small, outdated space into a bright, open-concept masterpiece. White shaker cabinets and sleek quartz countertops create a timeless, elegant look, while stainless steel appliances add modern sophistication. The expansive island offers ample prep and seating space, complemented by engineered hardwood flooring for warmth and durability. A newly installed window floods the space with natural light, enhancing the airy, inviting atmosphere.

Shrubby St. John's wort early in blooming period. Location is in west central Maryland. Photo by Curtis Adams, July, 2015.
Photo of a rustic landscaping in DC Metro.

Located on a marsh in the upper reaches of the Lieutenant River in Old Lyme, the existing house was well-sited and well-built, but the design failed to exploit the views and more importantly was a confused combination of contemporary and traditional elements. The new homeowners, a successful businesswoman and an accomplished artist and photographer, were interested in creating a fully-contemporary environment to open up space, connect indoors with outdoors, display artwork and showcase the husband’s distinctive photographs. One glaring deficiency was the curb appeal and approach sequence: the grade sloped down and the path to the house followed, but this led to an uncomfortable dip and abrupt rise to the front door. By creating a virtual “moat,” occupied by a grid of raised-bed grasses contained in aluminum-clad boxes, and spanning the moat with an ipe bridge, the approach becomes level and engaging. The façade of the existing house was blank and bland, and with no cover. Adding a deep overhang with a wide porch creates a welcoming, covered condition, accentuated by a 6’ wide pivoting front door that feels more like a moving piece of wall. Another deficiency was the connection to the outdoors. By adding glass to the front and back of the house, and removing interior walls selectively, the house takes on a diaphanous quality that allows one to see through to the marsh beyond, even when in the driveway. The raised-bed grasses act as abstract, geometric versions of the marsh beyond. A large, pyramidal skylight establishes a spatial hierarchy around which the rooms revolve. The house featured several tray-ceilinged spaces – living room, kitchen, and master bedroom – that were poorly-proportioned and with panels at the top that resembled inset flat panel doors. The solution was to use a different strategy for each: the bedroom turns the ceiling into an eggshell through the use of a creative trim detail; the living room has an oversized sculptural, backlit lighting element; and the kitchen has a collage of painted rectangular forms that support or include lighting pieces. A palette of concrete, blackened steel, stainless steel and colors carefully chosen by homeowner and architect create an interior and exterior environment punctuated by moments that are as artistic as the featured works in the black-ceilinged gallery.

We must admit, we’ve got yet another show-stopping transformation! With keeping the cabinetry boxes (though few had to be replaced), swapping out drawer and drawer fronts with new ones, and updating all the finishes – we managed to give this space a renovation that could be confused for a full remodel! The combination of a vibrant new backsplash, a light painted cabinetry finish, and new fixtures, these cosmetic changes really made the kitchen become “brand new”. Want to learn more about this space and see how we went from “drab” to “fab” then keep reading! Cabinetry The cabinets boxes that needed to be replaced are from WW Woods Shiloh, Homestead door style, in maple wood. These cabinets were unfinished, as we finished the entire kitchen on-site with the rest of the new drawer and drawer fronts for a seamless look. The cabinet fronts that were replaced were from Woodmont cabinetry, in a paint grade maple, and a recessed panel profile door-style. As a result, the perimeter cabinets were painted in Sherwin Williams Tinsmith, the island in Sherwin Williams Sea Serpent, and a few interiors of the cabinets were painted in a Sherwin Williams Tinsmith. Countertop The countertops feature a 3 cm Caesarstone Vivid White quartz Backsplash The backsplash installed from countertops to the bottom of the furrdown are from Glazzio in the Oceania Herringbone Series, in Cobalt Sea, and are a 1×2 size. We love how vibrant it is! Fixtures and Fittings From Blanco, we have a Meridian semi-professional faucet in Satin Nickel, and a granite composite Precis 1-3/4 bowl sink in a finish of Cinder. The floating shelves are from Danver and are a stainless steel finish. Flooring The flooring is a cork material from Harris Cork in the Napa Collection, in a Fawn finish.

Located on a marsh in the upper reaches of the Lieutenant River in Old Lyme, the existing house was well-sited and well-built, but the design failed to exploit the views and more importantly was a confused combination of contemporary and traditional elements. The new homeowners, a successful businesswoman and an accomplished artist and photographer, were interested in creating a fully-contemporary environment to open up space, connect indoors with outdoors, display artwork and showcase the husband’s distinctive photographs. One glaring deficiency was the curb appeal and approach sequence: the grade sloped down and the path to the house followed, but this led to an uncomfortable dip and abrupt rise to the front door. By creating a virtual “moat,” occupied by a grid of raised-bed grasses contained in aluminum-clad boxes, and spanning the moat with an ipe bridge, the approach becomes level and engaging. The façade of the existing house was blank and bland, and with no cover. Adding a deep overhang with a wide porch creates a welcoming, covered condition, accentuated by a 6’ wide pivoting front door that feels more like a moving piece of wall. Another deficiency was the connection to the outdoors. By adding glass to the front and back of the house, and removing interior walls selectively, the house takes on a diaphanous quality that allows one to see through to the marsh beyond, even when in the driveway. The raised-bed grasses act as abstract, geometric versions of the marsh beyond. A large, pyramidal skylight establishes a spatial hierarchy around which the rooms revolve. The house featured several tray-ceilinged spaces – living room, kitchen, and master bedroom – that were poorly-proportioned and with panels at the top that resembled inset flat panel doors. The solution was to use a different strategy for each: the bedroom turns the ceiling into an eggshell through the use of a creative trim detail; the living room has an oversized sculptural, backlit lighting element; and the kitchen has a collage of painted rectangular forms that support or include lighting pieces. A palette of concrete, blackened steel, stainless steel and colors carefully chosen by homeowner and architect create an interior and exterior environment punctuated by moments that are as artistic as the featured works in the black-ceilinged gallery.

Located on a marsh in the upper reaches of the Lieutenant River in Old Lyme, the existing house was well-sited and well-built, but the design failed to exploit the views and more importantly was a confused combination of contemporary and traditional elements. The new homeowners, a successful businesswoman and an accomplished artist and photographer, were interested in creating a fully-contemporary environment to open up space, connect indoors with outdoors, display artwork and showcase the husband’s distinctive photographs. One glaring deficiency was the curb appeal and approach sequence: the grade sloped down and the path to the house followed, but this led to an uncomfortable dip and abrupt rise to the front door. By creating a virtual “moat,” occupied by a grid of raised-bed grasses contained in aluminum-clad boxes, and spanning the moat with an ipe bridge, the approach becomes level and engaging. The façade of the existing house was blank and bland, and with no cover. Adding a deep overhang with a wide porch creates a welcoming, covered condition, accentuated by a 6’ wide pivoting front door that feels more like a moving piece of wall. Another deficiency was the connection to the outdoors. By adding glass to the front and back of the house, and removing interior walls selectively, the house takes on a diaphanous quality that allows one to see through to the marsh beyond, even when in the driveway. The raised-bed grasses act as abstract, geometric versions of the marsh beyond. A large, pyramidal skylight establishes a spatial hierarchy around which the rooms revolve. The house featured several tray-ceilinged spaces – living room, kitchen, and master bedroom – that were poorly-proportioned and with panels at the top that resembled inset flat panel doors. The solution was to use a different strategy for each: the bedroom turns the ceiling into an eggshell through the use of a creative trim detail; the living room has an oversized sculptural, backlit lighting element; and the kitchen has a collage of painted rectangular forms that support or include lighting pieces. A palette of concrete, blackened steel, stainless steel and colors carefully chosen by homeowner and architect create an interior and exterior environment punctuated by moments that are as artistic as the featured works in the black-ceilinged gallery.

Ever heard some say “It has good bones?” Well, no one had ever said that about this house; it needed a major overhaul - “A TOTAL GUT.” It’s saving grace was: 1. It’s enthusiastic new homeowners. 2. The expansive and gorgeous views of Okanagan Lake. 
 We were asked to assist our clients with big-picture-planning for their newest investment property. Upon initial walk through of the home, it was immediately evident there were many previous ‘bandaid-type’ updates that it had gone through over the years. This house was in prime need of an overhaul inside and out: - multiple dropped Ceilings with layers of Plumbing add ons - wall to wall Carpet -a tired Bathtub directly inside the Master Bedroom - a “dreaded” Corner Kitchen Sink -multiple add ons involving three confusing front entry doors Discovering what was previously done and the quandary of why these things were done is always so interesting to discover and can be very overwhelming for clients. A big part of what we love most about Design is helping to propose new ideas to revitalize and improve all that has come before. It is one of the most challenging and rewarding parts of our work. Our Renovation Strategy began in Layout Design for optimizing Interior & Exterior flow, moving into Concept & Style Planning, Millwork and Finish Selections. We then created an ordered implementation sequence which would allow the homeowners to live on one floor while the other was being renovated Later they would move to the finished floor and renovate the remaining areas. Once complete, the home quickly sold and we look forwards to assisting these happy investors on their next endeavour.

Located on a marsh in the upper reaches of the Lieutenant River in Old Lyme, the existing house was well-sited and well-built, but the design failed to exploit the views and more importantly was a confused combination of contemporary and traditional elements. The new homeowners, a successful businesswoman and an accomplished artist and photographer, were interested in creating a fully-contemporary environment to open up space, connect indoors with outdoors, display artwork and showcase the husband’s distinctive photographs. One glaring deficiency was the curb appeal and approach sequence: the grade sloped down and the path to the house followed, but this led to an uncomfortable dip and abrupt rise to the front door. By creating a virtual “moat,” occupied by a grid of raised-bed grasses contained in aluminum-clad boxes, and spanning the moat with an ipe bridge, the approach becomes level and engaging. The façade of the existing house was blank and bland, and with no cover. Adding a deep overhang with a wide porch creates a welcoming, covered condition, accentuated by a 6’ wide pivoting front door that feels more like a moving piece of wall. Another deficiency was the connection to the outdoors. By adding glass to the front and back of the house, and removing interior walls selectively, the house takes on a diaphanous quality that allows one to see through to the marsh beyond, even when in the driveway. The raised-bed grasses act as abstract, geometric versions of the marsh beyond. A large, pyramidal skylight establishes a spatial hierarchy around which the rooms revolve. The house featured several tray-ceilinged spaces – living room, kitchen, and master bedroom – that were poorly-proportioned and with panels at the top that resembled inset flat panel doors. The solution was to use a different strategy for each: the bedroom turns the ceiling into an eggshell through the use of a creative trim detail; the living room has an oversized sculptural, backlit lighting element; and the kitchen has a collage of painted rectangular forms that support or include lighting pieces. A palette of concrete, blackened steel, stainless steel and colors carefully chosen by homeowner and architect create an interior and exterior environment punctuated by moments that are as artistic as the featured works in the black-ceilinged gallery.

Glamorous Bathroom Remodel
Example of a mid-sized eclectic master beige tile and metal tile porcelain tile and brown floor drop-in bathtub design in St Louis with flat-panel cabinets, dark wood cabinets, beige walls, a vessel sink, quartz countertops and black countertops

Located on a marsh in the upper reaches of the Lieutenant River in Old Lyme, the existing house was well-sited and well-built, but the design failed to exploit the views and more importantly was a confused combination of contemporary and traditional elements. The new homeowners, a successful businesswoman and an accomplished artist and photographer, were interested in creating a fully-contemporary environment to open up space, connect indoors with outdoors, display artwork and showcase the husband’s distinctive photographs. One glaring deficiency was the curb appeal and approach sequence: the grade sloped down and the path to the house followed, but this led to an uncomfortable dip and abrupt rise to the front door. By creating a virtual “moat,” occupied by a grid of raised-bed grasses contained in aluminum-clad boxes, and spanning the moat with an ipe bridge, the approach becomes level and engaging. The façade of the existing house was blank and bland, and with no cover. Adding a deep overhang with a wide porch creates a welcoming, covered condition, accentuated by a 6’ wide pivoting front door that feels more like a moving piece of wall. Another deficiency was the connection to the outdoors. By adding glass to the front and back of the house, and removing interior walls selectively, the house takes on a diaphanous quality that allows one to see through to the marsh beyond, even when in the driveway. The raised-bed grasses act as abstract, geometric versions of the marsh beyond. A large, pyramidal skylight establishes a spatial hierarchy around which the rooms revolve. The house featured several tray-ceilinged spaces – living room, kitchen, and master bedroom – that were poorly-proportioned and with panels at the top that resembled inset flat panel doors. The solution was to use a different strategy for each: the bedroom turns the ceiling into an eggshell through the use of a creative trim detail; the living room has an oversized sculptural, backlit lighting element; and the kitchen has a collage of painted rectangular forms that support or include lighting pieces. A palette of concrete, blackened steel, stainless steel and colors carefully chosen by homeowner and architect create an interior and exterior environment punctuated by moments that are as artistic as the featured works in the black-ceilinged gallery.

Ever heard some say “It has good bones?” Well, no one had ever said that about this house; it needed a major overhaul - “A TOTAL GUT.” It’s saving grace was: 1. It’s enthusiastic new homeowners. 2. The expansive and gorgeous views of Okanagan Lake. 
 We were asked to assist our clients with big-picture-planning for their newest investment property. Upon initial walk through of the home, it was immediately evident there were many previous ‘bandaid-type’ updates that it had gone through over the years. This house was in prime need of an overhaul inside and out: - multiple dropped Ceilings with layers of Plumbing add ons - wall to wall Carpet -a tired Bathtub directly inside the Master Bedroom - a “dreaded” Corner Kitchen Sink -multiple add ons involving three confusing front entry doors Discovering what was previously done and the quandary of why these things were done is always so interesting to discover and can be very overwhelming for clients. A big part of what we love most about Design is helping to propose new ideas to revitalize and improve all that has come before. It is one of the most challenging and rewarding parts of our work. Our Renovation Strategy began in Layout Design for optimizing Interior & Exterior flow, moving into Concept & Style Planning, Millwork and Finish Selections. We then created an ordered implementation sequence which would allow the homeowners to live on one floor while the other was being renovated Later they would move to the finished floor and renovate the remaining areas. Once complete, the home quickly sold and we look forwards to assisting these happy investors on their next endeavour.

Custom made kitchen cabinets with a color that we created after many tests and the results...wow. I love simplicity, even when I write to you what you see, so lets do this: The custom cabinets are 3/4'' plywood frame and the doors and the face of the drawers are maple as well. Remember, when you hear Maple kitchen cabinets, that is what it means. NOT all of it Maple, there is but very uncommon. Unless you can afford it and really want it so why not, right? Self close, smart stops, pantry. Regarding any pantry, custom cabinets or semi custom, they both have pull out shelves but up to 5' high. City Code. The city worry that nothing will full on you or little children. The counter is Hond, no sheen Quartz with straight edge. The floor is the original Oak. It always amaze me that they used to build houses with solid Oak floor. WOW!! The backsplash is Porcelain with wavy look. The floating shelves are heavy duty, meaning, the wood is solid and we need to create a custom metal to drill it to the shelve and installing it to the studs. This is if you want to put heavy stuff like plats, glasses etc. Island with a sitting area so we extended the counter out by 16''. If you want to extend more, brackets will ne needed for supporting the countertop. That is it basically. I hope I made it clear. I know it's not easy to do/plan a project with many challenges and the main one is to who are you going to give your savings, your money to do the remodeling, to create your dream. I know. Just follow your heart, take 3 bids, no need more, you will just get more confused. Much blessing to you. Ori

Located on a marsh in the upper reaches of the Lieutenant River in Old Lyme, the existing house was well-sited and well-built, but the design failed to exploit the views and more importantly was a confused combination of contemporary and traditional elements. The new homeowners, a successful businesswoman and an accomplished artist and photographer, were interested in creating a fully-contemporary environment to open up space, connect indoors with outdoors, display artwork and showcase the husband’s distinctive photographs. One glaring deficiency was the curb appeal and approach sequence: the grade sloped down and the path to the house followed, but this led to an uncomfortable dip and abrupt rise to the front door. By creating a virtual “moat,” occupied by a grid of raised-bed grasses contained in aluminum-clad boxes, and spanning the moat with an ipe bridge, the approach becomes level and engaging. The façade of the existing house was blank and bland, and with no cover. Adding a deep overhang with a wide porch creates a welcoming, covered condition, accentuated by a 6’ wide pivoting front door that feels more like a moving piece of wall. Another deficiency was the connection to the outdoors. By adding glass to the front and back of the house, and removing interior walls selectively, the house takes on a diaphanous quality that allows one to see through to the marsh beyond, even when in the driveway. The raised-bed grasses act as abstract, geometric versions of the marsh beyond. A large, pyramidal skylight establishes a spatial hierarchy around which the rooms revolve. The house featured several tray-ceilinged spaces – living room, kitchen, and master bedroom – that were poorly-proportioned and with panels at the top that resembled inset flat panel doors. The solution was to use a different strategy for each: the bedroom turns the ceiling into an eggshell through the use of a creative trim detail; the living room has an oversized sculptural, backlit lighting element; and the kitchen has a collage of painted rectangular forms that support or include lighting pieces. A palette of concrete, blackened steel, stainless steel and colors carefully chosen by homeowner and architect create an interior and exterior environment punctuated by moments that are as artistic as the featured works in the black-ceilinged gallery.

Located on a marsh in the upper reaches of the Lieutenant River in Old Lyme, the existing house was well-sited and well-built, but the design failed to exploit the views and more importantly was a confused combination of contemporary and traditional elements. The new homeowners, a successful businesswoman and an accomplished artist and photographer, were interested in creating a fully-contemporary environment to open up space, connect indoors with outdoors, display artwork and showcase the husband’s distinctive photographs. One glaring deficiency was the curb appeal and approach sequence: the grade sloped down and the path to the house followed, but this led to an uncomfortable dip and abrupt rise to the front door. By creating a virtual “moat,” occupied by a grid of raised-bed grasses contained in aluminum-clad boxes, and spanning the moat with an ipe bridge, the approach becomes level and engaging. The façade of the existing house was blank and bland, and with no cover. Adding a deep overhang with a wide porch creates a welcoming, covered condition, accentuated by a 6’ wide pivoting front door that feels more like a moving piece of wall. Another deficiency was the connection to the outdoors. By adding glass to the front and back of the house, and removing interior walls selectively, the house takes on a diaphanous quality that allows one to see through to the marsh beyond, even when in the driveway. The raised-bed grasses act as abstract, geometric versions of the marsh beyond. A large, pyramidal skylight establishes a spatial hierarchy around which the rooms revolve. The house featured several tray-ceilinged spaces – living room, kitchen, and master bedroom – that were poorly-proportioned and with panels at the top that resembled inset flat panel doors. The solution was to use a different strategy for each: the bedroom turns the ceiling into an eggshell through the use of a creative trim detail; the living room has an oversized sculptural, backlit lighting element; and the kitchen has a collage of painted rectangular forms that support or include lighting pieces. A palette of concrete, blackened steel, stainless steel and colors carefully chosen by homeowner and architect create an interior and exterior environment punctuated by moments that are as artistic as the featured works in the black-ceilinged gallery.

A transformation of a modest raised ranch into a modern oasis. I was the interior designer and general contractor from mechanicals to finishing. It’s also my personal home. The interior design style is that of modern minimalist meets organic modern. I wanted a space that reduced distractions and let the eyes, head, and soul rest. Where everything inside the home has a specific use and purpose. The objects in our home are fewer but each hold a great personal value. You might expect to see this airy aesthetic, with its gallery white walls, in California or New York. Not nestled in a modest 50 year old neighborhood in Omaha, Nebraska. Creating a minimal aesthetic is one of the trickiest design styles to pull off. It is more than just less stuff and lots of white. It means sticking to these design principals: -weaving in an abundance of textures -incorporating natural finishes -keenly curating art -giving extra attention to scale -limiting purely decorative items -maximizing natural light This style is not to be confused with the frugality of reductive design. I have incorporated many elevated basics that create an aesthetic of quiet luxury: -architectural bead for trim-less doors -first-of-its kind interior door hardware made of terrazzo -historical marble found in landmark interiors like the NY Public Library -premium flush air vents that disappear out of site -luxury appliances from GE Café and Signature -elegant and resilient terrazzo field tiles Ours was not a simple interior remodel and addition: -gutted and remodeled the existing 2,000 SF -added on approximately another 1,000 SF -moved and installed all new major mechanicals i.e. heating, plumbing and electrical. -knocked through foundation walls to extend the space back -dug down and built up

Our Chisum Bolero Armless Barstool brings a classy pop of red into your dining or entertaining space. Featuring a luxuriously soft, hand stamped and died red leather. This fine red leather barstool will bring a timeless dynamic into your dining or entertain space. A full 360 degree ball bearing swivel mechanism and a solid alder wood frame gives this fine leather barstool incredible durability. 100% American made to the highest standards of quality and craftsmanship! Overall Barstool Dimensions: 43" H x 20" W x 22" D Seat Height: 30" Overall Counter Stool Dimension: 38" H x 20" W x 22" D Seat Height: 25" Stamped Leather Description: Dyes and waxes are hand applied to South American raw material to impart a transparent clarity. This coupled with substrate gives the leather a sophisticated, pebble grain appearance. All of the aniline dyes and stamping applied to the hides are hand done in North Carolina by skilled artisans drawing from years of creative experience creating an impressive patina. The absence of pigments adds to the natural softness of the hides. A light protective top, utilizing a proprietary formulation developed by the tannery creates the exquisite touch this leather is known for and makes the leather suitable for active family homes. Because of the depth and transparency of this leather, natural markings will be exposed and should not be confused as defects or deficiencies, but appreciated as Nature's Autograph of Authenticity found in the finest full grain leathers. 100% top grain cowhide leather is characterized by variations in shade, texture, color and grain. Healed marks and scars are to be expected and enhance the natural beauty of the hides. These variations should not be considered defects as they are normal and unique features of genuine 100% top grain cowhide leather. Frame Construction: Made with American Alder Wood, our frames are glued, screwed and dowelled at the joints. Two coats of high quality stain is hand rubbed on the wood finish and then sealed with industrial grade clear coat.