Mid-sized elegant front door photo in Charlotte with beige walls and a medium wood front door

David Morello
Design ideas for a traditional landscaping in Houston.

Light fixture with direct emission, with fluorescent sources • Available with base or fixed support (pivot) made up of mass-coloured concrete • Diffuser in mass-pigmented polypropylene, screen in light-diffusing silkscreened methacrylate, reflector in painted aluminum • Mobile-arm structure in extruded EN-AW-6060 aluminum with bright anodizing treat¬ment • Polished-painted articulations in die-cast EN-AB 46100 aluminum • Adjustment system in AISI 316 stainless steel • Silicone seal gaskets • Suitable for watertight connection • Electronic ballast • c.UL.us listed Lead time: 2 - 4 weeks Lamping explanation: INC = incandescent FLU = fluorescent HAL = 120V halogen LV HAL = 12V halogen MH = metal halide SBF = self-ballasted fluorescent LED = light emitting diode All lamps are included with the fixtures Artemide's design and research team focuses on developing quality and long-lasting products. Utilization of recyclable materials is high priority in our process of conceiving new design. 80% of our lights are energy efficient fluorescent or LED lighting. But what's more green than having a beautifully crafted light that continues to function well and looks stunning decades from now The Artemide light has never been solely a function of seeing, or an opportunity for formal experimentation with lamps as objects. For more than forty years, Artemide has aimed to propose light as a companion to people, as a source of physical pleasure and mental comfort. Artemide has done so, with different work groups, searching through the whole design process, starting with a declaration of values - The human light. Beyond the definition, the human light is intelligent light. A light that knows it has to relate to people, accompanying them in their daily activities. That is why Artemide's attention today is concentrated on the concept of the context of life, understood as a specific microenvironment in which an event occurs where one or more persons are the protagonist, every context of life can be associated with different light contexts, or the different atmospheres of light characterized by the activities that, at various moments of the day, have us as protagonists, starting from these contexts and the lighting conditions that characterize them, Artemide proposes products capable of meeting people's multiple needs and offering the light performance characteristics most suited to each moment of life, it is light that is flexible and adaptable, which produces the optimum visual precision, and consumes the minimum environmental resources, it is Artemide light. The Artemide group, founded by Ernesto Gismondi in 1959, today operates throughout the world, with 16 subsidiaries and affiliated companies, and 35 exclusive distributors. They have production centers in Italy, France, Germany, the USA, Hungary and the Czech Republic. In a policy aimed at satisfying all lighting needs, the Artemide group has recently acquired companies that reinforce its position as a world leader and further diversifies the offerings. For contexts of life, Artemide offers not only lamps for moments of relaxation at home, but also large sophisticated installations for lighting public and private professional activities. Technological and productive expertise is achieved through research and development centers, with the product planning and engineering section, laboratories for technical conformity and self-certification tests, and production units equipped with avant-garde processes. A production structure that can offer expertise in the processing of traditional materials such as glass, as well as the capacity for innovation with recently introduced materials such as titanium. Lighting performance characteristics extend from a light with atmosphere, variable, colored, to the most precise of lights for community environments. The vast range of options reflects the commitment of the whole organization to provide a product guaranteed by the Artemide brand, throughout the world, with an image that is strong and consistent - That of a leader in the lighting industry. Rezek, an Artemide brand, with product development and manufacturing in the United States. Founded by designer Ron Rezek in 1978, the Rezek company has gained strong recognition and appreciation among the architectural and interior design community for the distinctly creative design and quality construction of its American made lighting products for residential and commercial applications.

We expanded an existing deck with new stairs, railing, decking, deck board design, lighting, complete with all post and beam wraps. All decking you see is Zuri decking with Timbertech Rail Systems. We installed riser lights up the stairs with post caps on top of all posts.

A unique pattern of Thassos and Mother of Pearl in a brilliant shade of icy blue!
Example of a minimalist kitchen design in New York with blue backsplash and mosaic tile backsplash

Cottage home design photo in St Louis

Elegant nursery photo in Calgary

White hexagon tile flooring was a classic, affordable choice for this guest bathroom.
Example of a mid-sized transitional 3/4 white tile and porcelain tile porcelain tile alcove bathtub design in Birmingham with shaker cabinets, white cabinets, a one-piece toilet, white walls, an undermount sink and solid surface countertops

Jeffrey Bale
Inspiration for a huge eclectic home design remodel in Seattle

Mid-sized elegant kids' beige tile and porcelain tile ceramic tile alcove bathtub photo with an undermount sink, shaker cabinets, dark wood cabinets, granite countertops, a two-piece toilet and beige walls

Located in Marin County this forest haven is nestled among towering Redwood and Douglas Fir trees an Indonesian statue sits peacefully in the picnic area.

Example of a mid-sized urban attached garage design in San Francisco

Kirk Bianchi created this resort like setting for a couple from Mexico City. They were looking for a contemporary twist on traditional themes, and Luis Barragán was the inspiration. The outer walls were painted a darker color to recede, while floating panels of color and varying heights provided sculptural interest and opportunities for lighting and shadow.

Handmade Tile: Horus Art Ceramiche - Broadway Evolution Collection - 2x6 Crema - Subway offset pattern with an arch mural & 90° Herringbone field
Example of a small classic u-shaped dark wood floor enclosed kitchen design in Newark with an undermount sink, shaker cabinets, brown cabinets, granite countertops, beige backsplash, ceramic backsplash, stainless steel appliances and an island

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.

Stairs in honed Pietra d'Avola and wall in Raw texture from Salvatori Pepe Fotografia
Staircase - contemporary staircase idea in Turin

We cannot take credit for the expansive 40-year old oak that shades the driveway and wraps the home in privacy. The owners credit the squirrels! Established tree canopy like this is literally priceless - it adds value to the Retreat, and also neighboring homes.