Susan Flanagan
Inspiration for an eclectic carpeted study room remodel in Wilmington with green walls

Transitional home design photo in Los Angeles

Decore Interiors LLC
Mid-sized transitional master carpeted bedroom photo with beige walls

We just completed another bathroom for a client in Mercer Island. A very creative and modern bathroom design with brick walls, new bathroom tiles, new vanity, heated floors and showers. Finally, a classic crystal chandelier adds a splash of elegance to this bathroom. The contrast between brick and white design elements just works beautifully.

Freestanding bathtub - mid-sized master beige tile and porcelain tile porcelain tile, multicolored floor and double-sink freestanding bathtub idea in Dallas with shaker cabinets, light wood cabinets, a two-piece toilet, beige walls, an undermount sink, quartzite countertops, a hinged shower door, white countertops, a niche and a built-in vanity

Home design - traditional home design idea

Winky Lewis Photography

Inspiration for a contemporary dining room remodel in Chicago

The unique marquetry in the entry floor encompasses a beautiful rug by @beckwithgalleries. The table from @cadieuxinteriors.ca provides a mesmorizing swirling pedestal for one of the client's favourite sculptures.

Royal's Factory and its review: The business that Royal now runs in Shanghai was originally established by his father in Hong Kong. The legacy of this workmanship lies with Royal's father. At age 20, he was apprenticed to a traditional Chinese carpenter in Shanghai and learnt the long-established customs of furniture manufacture and furniture upholstery. After moving to Hong Kong, he was fortunate to study and work with a master craftsman from France, who specialized in furnitures. This experience allowed him to integrate his knowledge of both Eastern and Western practices, catering to both local and international clients. When Royal and his family moved to Shanghai seven years ago, the family business came full circle, opening Little Dragon in the city where Royal's father had first learnt the craft of furniture making. Royal has a special affinity for furniture making, having studied classic and modern techniques under father's direction from the age of 16 years. He is genuinely passionate about furniture making (especially furnitures). Over the last 8 years, our business has grown significantly, due mainly to the glowing referrals we receive from our loyal customers, who enjoy our personalized service and attention to detail. "You can't get a better marketing strategy than word-of-mouth," says owner Royal Wong, who believes the success of our family business is based on the quality of the craftsmanship and service our staff provide. We also believe that detailed hand-finished work provides its own quality assurance and our confidence in this craftsmanship is reflected in our lifetime service guarantee. All tastes and styles are catered to, as the store offers more than 5,000 quality samples and fabric swatches. An enormous array of options await - smooth leather, luxurious velvet, magnificent satin tapestry designs and comfortable modern fabrics such as cotton-linen blends and ultra-suede. As upholstery support and padding is dictated by individual taste, customers can choose from a diverse range of filling materials, which are assembled by hand. Specialized workshop processes ensure the quality and quantity of these materials, as they are individually weighed then encased in a special lining fabric. Customers that choose a made-to-order furniture know just what they want, and that's usually a furniture that will retain its original size, shape and support over the years. Changes in style and taste are easily accommodated with interchangeable and replaceable furniture covers. Our custom-made furnitures and chairs, of unique design and style, are vivid reflections of the personality and taste of their owners. Like tailor-made clothing, the quality of the design and materials are specifically suited to the end user. Over the last seven years, we've collected an interesting range of anecdotes from our customers, some of whom will go to great lengths to get a Little Dragon furniture into their home. One client, whose custom-made furniture was too large to fit through his front door, hoisted it through a third floor window via a pulley. Another, having relocated his Little Dragon furniture from Shanghai, to the United States, to Singapore, visited China especially to pick up some soft furnishings from our store. Amongst our high profile customers over the years are some of Hong Kong's premier five-star hotel presidents, business titans, film stars and Shanghai's consul-generals. Perhaps one of our most faithful customers is the legendary Hong Kong actor, Andy Lau, who asked his interior decorator to work directly with us to complete the design of his entire mansion in Hong Kong. The repair and restoration of antique furniture is a unique skill that we offer our customers. Our European clients, in particular, have strong recollections of furniture handed down through the ages and appreciate the opportunity to put some life back into family heirlooms which hold such fond memories of those now departed. One French customer, referred by a friend, entrusted us with a armoire that had been in the family for three generations. Our company's objective is the same as its clients - to retain the integrity of the original craftsmanship and refresh the unique traits of an individual furniture piece. For this reason, Royal's customers can be considered a rather special community as they are willing to come from far and wide to benefit from his unique skill set. The company's integrity and heritage are much like that of the pieces they work on – handed down from father to son and continued throughout the generations. It is no wonder that the business has an international reputation which draws clients from all corners of the globe to Shanghai.

Royal's Factory and its review: The business that Royal now runs in Shanghai was originally established by his father in Hong Kong. The legacy of this workmanship lies with Royal's father. At age 20, he was apprenticed to a traditional Chinese carpenter in Shanghai and learnt the long-established customs of furniture manufacture and furniture upholstery. After moving to Hong Kong, he was fortunate to study and work with a master craftsman from France, who specialized in furnitures. This experience allowed him to integrate his knowledge of both Eastern and Western practices, catering to both local and international clients. When Royal and his family moved to Shanghai seven years ago, the family business came full circle, opening Little Dragon in the city where Royal's father had first learnt the craft of furniture making. Royal has a special affinity for furniture making, having studied classic and modern techniques under father's direction from the age of 16 years. He is genuinely passionate about furniture making (especially furnitures). Over the last 8 years, our business has grown significantly, due mainly to the glowing referrals we receive from our loyal customers, who enjoy our personalized service and attention to detail. "You can't get a better marketing strategy than word-of-mouth," says owner Royal Wong, who believes the success of our family business is based on the quality of the craftsmanship and service our staff provide. We also believe that detailed hand-finished work provides its own quality assurance and our confidence in this craftsmanship is reflected in our lifetime service guarantee. All tastes and styles are catered to, as the store offers more than 5,000 quality samples and fabric swatches. An enormous array of options await - smooth leather, luxurious velvet, magnificent satin tapestry designs and comfortable modern fabrics such as cotton-linen blends and ultra-suede. As upholstery support and padding is dictated by individual taste, customers can choose from a diverse range of filling materials, which are assembled by hand. Specialized workshop processes ensure the quality and quantity of these materials, as they are individually weighed then encased in a special lining fabric. Customers that choose a made-to-order furniture know just what they want, and that's usually a furniture that will retain its original size, shape and support over the years. Changes in style and taste are easily accommodated with interchangeable and replaceable furniture covers. Our custom-made furnitures and chairs, of unique design and style, are vivid reflections of the personality and taste of their owners. Like tailor-made clothing, the quality of the design and materials are specifically suited to the end user. Over the last seven years, we've collected an interesting range of anecdotes from our customers, some of whom will go to great lengths to get a Little Dragon furniture into their home. One client, whose custom-made furniture was too large to fit through his front door, hoisted it through a third floor window via a pulley. Another, having relocated his Little Dragon furniture from Shanghai, to the United States, to Singapore, visited China especially to pick up some soft furnishings from our store. Amongst our high profile customers over the years are some of Hong Kong's premier five-star hotel presidents, business titans, film stars and Shanghai's consul-generals. Perhaps one of our most faithful customers is the legendary Hong Kong actor, Andy Lau, who asked his interior decorator to work directly with us to complete the design of his entire mansion in Hong Kong. The repair and restoration of antique furniture is a unique skill that we offer our customers. Our European clients, in particular, have strong recollections of furniture handed down through the ages and appreciate the opportunity to put some life back into family heirlooms which hold such fond memories of those now departed. One French customer, referred by a friend, entrusted us with a armoire that had been in the family for three generations. Our company's objective is the same as its clients - to retain the integrity of the original craftsmanship and refresh the unique traits of an individual furniture piece. For this reason, Royal's customers can be considered a rather special community as they are willing to come from far and wide to benefit from his unique skill set. The company's integrity and heritage are much like that of the pieces they work on – handed down from father to son and continued throughout the generations. It is no wonder that the business has an international reputation which draws clients from all corners of the globe to Shanghai.

**Spatial Composition & Architectural Volume** This is a room conceived as a stage for a single object, and the architecture obligingly recedes into the role of proscenium. The plan reads as a generous, laterally-oriented salon — likely a piano room carved from the corner of a metropolitan penthouse — organized around an L-shaped glazing sequence that turns the corner and dissolves two of the four enclosing planes. A dropped soffit tray, articulated as a crisply mitred perimeter reveal with an integrated cove, floats above the seating and instrument zone, its shadow-gap detailing lowering the apparent datum and conferring intimacy on an otherwise expansive volume. The plaster ceiling reads as a single continuous membrane, its recessed channels doubling as concealed curtain tracks and linear light slots, thereby suppressing any surface-mounted apparatus. On the left, a full-height run of hand-carved, ripple-textured oak millwork operates as both threshold and tectonic bookend — a vertical mass that anchors the composition against the weightlessness of the fenestration opposite. The pier between the two window bays is clad in pale ribbed limestone or fluted plaster, functioning as a quiet pilaster that structures the sightlines rather than interrupting them. Circulation is centrifugal: the herringbone-laid oak parquet establishes a diagonal grain that pulls the eye toward the terrace, while the rug's rectilinear footprint carves out a defined *piano nobile* island within the open field. The grand piano, positioned obliquely with its raised lid oriented back into the room, becomes the volume's sculptural fulcrum — its cabriole-derived silhouette and blade-thin tapered legs (a distinctly contemporary reinterpretation, likely a designer-authored instrument) providing curvilinear counterpoint to the room's orthogonal discipline. **Materiality, Color & Texture** The palette is a study in monochromatic warmth punctuated by a single decisive act of contrast. Nearly every surface resides within a narrow chromatic band of oatmeal, bone, greige and pale honey — undertones consistently warm-neutral, veering toward the sandy rather than the grey, which prevents the minimalism from reading as clinical. The floor's white-oak herringbone is finished with a matte, lightly limed patina that keeps the grain legible without gloss; the field rug in silk-and-viscose introduces a lustrous, cloud-like abraded pattern, its mineral-grey striations reading almost as sumi-e wash or weathered concrete, and providing the room's only tonal modulation at floor level. The drapery — a densely woven linen or linen-blend in a slubbed sand tone, hung with tightly gathered, full-height pinch pleats — carries a subtle vertical stripe or ribbed jacquard that catches raking light and animates the perimeter. Against this, the carved oak volume at left is the tactile protagonist: a low-relief, chiselled facetting that reads as adze-worked or gouged, generating a shifting moiré of micro-shadow and elevating a utilitarian storage wall into applied art. The piano's satin-black lacquer is the compositional anchor — deep, absorbent, and deliberately non-reflective on its exterior case while its interior lid reveals a mottled, patinated bronze-brown, a warm secret held within the black. Brass appears with real restraint: the lid hinges, the harp and action, the sabot-like disc on the bench flank. Nature supplies the only saturated chroma — the emerald ivy hedge framed in the left window and the topiary beyond the right — treated as living tapestry, effectively a curated *borrowed landscape*. **Lighting, Atmosphere & Style Profile** The lighting strategy is almost entirely subtractive: daylight is admitted in broad, low-glare sheets through minimal-sightline steel or slim-profile aluminium glazing, then softened and diffused by the sheer-adjacent linen and the pale, light-returning plaster envelope. The result is a high-key, shadowless luminosity with a distinctly diffuse northern quality, in which form is described by gradient rather than by hard contrast — note how the piano's black mass reads as silhouette against the terrace glare, while its curved bentwood rim catches a single soft specular highlight. Artificial illumination is entirely concealed within the ceiling reveals and coves, ensuring that after dark the room will be washed rather than punctured; the deliberate absence of decorative pendants or table lamps in this frame reinforces the reading of the instrument as the sole permitted ornament. Atmospherically the room is contemplative, acoustically soft, and tuned to a single activity — a *musica da camera* interior in the truest sense. Stylistically it synthesizes into what might best be termed **Soft Minimalism with a couture-craft inflection**: the rigour and reductive detailing of late-modernist practice, warmed by the tactile, hand-worked surfaces and neutral tonalities of Japandi and Belgian-inflected quiet luxury. The governing thesis is one of *sublimated luxury* — value expressed through millwork tolerance, drapery yardage, plaster craft and the confident emptiness of the plan, rather than through pattern, colour or accumulation.