Example of a cottage dining room design in Austin

Inspiration for a mid-sized timeless brown one-story stucco gable roof remodel in Sacramento with a shingle roof

Roof overhang with decorative brackets, copper gutters and stone.

Gina Taterus
Sunroom - small contemporary linoleum floor and gray floor sunroom idea in Tampa with a standard ceiling

Jim Thomas Bronze Studio
Inspiration for a huge timeless exterior home remodel in Cleveland

**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.

Roof overhang with decorative brackets, copper gutters and stone.

We added this salvaged wood beam from another project and incorporated it as a lintel for our "new" closet doors. Inside is a spacious walk-in closet! Bicoastal Interior Design & Architecture Your home. Your style.

Gina Taterus
Example of a small trendy linoleum floor and gray floor entry hall design in Tampa with white walls

Gina Taterus
Kitchen - small contemporary galley kitchen idea in Tampa

Photographer : Richard Mandelkorn
Inspiration for a huge timeless two-story stone gable roof remodel in Providence

THE SHADOW HOUSE IS A PRODUCT OF THE CONTEXT IT SITS WITHIN, YET IT SUBVERTS IT AT THE SAME TIME. IT’S IMPOSSIBLE TO IGNORE IT UP CLOSE, YET FROM AFAR IT DISAPPEARS INTO THE ETHER. A TINY LOT, A LARGE PROGRAM, RESTRICTIVE ZONING REGULATIONS AND AN INVOLVED NEIGHBORHOOD INTEREST GROUP WERE THE CONSTANT AND UNRELENTING PRESSURES THAT CREATED THIS HOUSE — AND THE RESULT IS BETTER OFF FOR IT. THE SCALLOPED SHINGLES ARE A COMMON ELEMENT ACROSS THE NEIGHBORHOOD, BUT ARE OFTEN RESERVED FOR DETAIL AREAS UNDER EAVES, AS THE MATERIAL WAS VERY EXPENSIVE ONE HUNDRED YEARS AGO. WE TOOK THAT HIGHLY-SPECIALIZED, VERY EXCLUSIVE MATERIAL AND APPLIED IT AS A BROAD, MASS-PRODUCED TEXTURE ACROSS THE ENTIRE RESIDENCE — TAKING SOMETHING FROM HIGHLIGHT TO BACKGROUND TEXTURE. THE SILHOUETTE DIRECTLY ECHOES THE ITALIANATE HOMES IN THE LARGER NEIGHBORHOOD — BUT WE STRIPPED THE TYPICAL ORNATE, DECORATED FAÇADE BACK TO UTTER MINIMALISM. WE ENLARGED THE TYPICAL WINDOW SIZE TO EXAGGERATE THE RIGID SYMMETRY OF THE STYLE, AND BROUGHT THEM TO THE FLOOR AND THE CEILING TO PROVIDE AS MUCH LIGHT AS POSSIBLE — AND THEN RECESSED THEM DEEP INTO THE FAÇADE TO MIMIC THE HEAVY BRICK AND STONE LINTELS OF THE PAST. THE HOUSE IS BLACK — THE ONLY COLOR IT COULD BE. IF WE’D PAINTED IT UP LIKE ITS VICTORIAN SISTERS, IT WOULD’VE COMPETED FOR ATTENTION. BLACK CAUSES THE HOUSE TO SIMULTANEOUSLY DISAPPEAR AND STAND OUT — IT IS IMPOSSIBLE TO IGNORE WHILE YOU’RE WALKING PAST, BUT A FEW BLOCKS AWAY IT BECOMES IMPOSSIBLE TO DISCERN AGAINST THE BACKGROUND. TWO BEDROOMS WITH EN-SUITE BATHS, FLOOR-TO-CEILING WINDOWS, AN AIRY AND OPEN STAIRCASE AND A MASSIVE GLASS ROOF DOOR MAKE THE SHADOW HOUSE IMPOSSIBLY LIGHT AND OPEN — YET IT’S ONLY 1,400 SQUARE FEET ON A 30’ X 50’ LOT.

Gina Taterus
Inspiration for a small contemporary linoleum floor and gray floor entry hall remodel in Tampa with white walls

THE SHADOW HOUSE IS A PRODUCT OF THE CONTEXT IT SITS WITHIN, YET IT SUBVERTS IT AT THE SAME TIME. IT’S IMPOSSIBLE TO IGNORE IT UP CLOSE, YET FROM AFAR IT DISAPPEARS INTO THE ETHER. A TINY LOT, A LARGE PROGRAM, RESTRICTIVE ZONING REGULATIONS AND AN INVOLVED NEIGHBORHOOD INTEREST GROUP WERE THE CONSTANT AND UNRELENTING PRESSURES THAT CREATED THIS HOUSE — AND THE RESULT IS BETTER OFF FOR IT. THE SCALLOPED SHINGLES ARE A COMMON ELEMENT ACROSS THE NEIGHBORHOOD, BUT ARE OFTEN RESERVED FOR DETAIL AREAS UNDER EAVES, AS THE MATERIAL WAS VERY EXPENSIVE ONE HUNDRED YEARS AGO. WE TOOK THAT HIGHLY-SPECIALIZED, VERY EXCLUSIVE MATERIAL AND APPLIED IT AS A BROAD, MASS-PRODUCED TEXTURE ACROSS THE ENTIRE RESIDENCE — TAKING SOMETHING FROM HIGHLIGHT TO BACKGROUND TEXTURE. THE SILHOUETTE DIRECTLY ECHOES THE ITALIANATE HOMES IN THE LARGER NEIGHBORHOOD — BUT WE STRIPPED THE TYPICAL ORNATE, DECORATED FAÇADE BACK TO UTTER MINIMALISM. WE ENLARGED THE TYPICAL WINDOW SIZE TO EXAGGERATE THE RIGID SYMMETRY OF THE STYLE, AND BROUGHT THEM TO THE FLOOR AND THE CEILING TO PROVIDE AS MUCH LIGHT AS POSSIBLE — AND THEN RECESSED THEM DEEP INTO THE FAÇADE TO MIMIC THE HEAVY BRICK AND STONE LINTELS OF THE PAST. THE HOUSE IS BLACK — THE ONLY COLOR IT COULD BE. IF WE’D PAINTED IT UP LIKE ITS VICTORIAN SISTERS, IT WOULD’VE COMPETED FOR ATTENTION. BLACK CAUSES THE HOUSE TO SIMULTANEOUSLY DISAPPEAR AND STAND OUT — IT IS IMPOSSIBLE TO IGNORE WHILE YOU’RE WALKING PAST, BUT A FEW BLOCKS AWAY IT BECOMES IMPOSSIBLE TO DISCERN AGAINST THE BACKGROUND. TWO BEDROOMS WITH EN-SUITE BATHS, FLOOR-TO-CEILING WINDOWS, AN AIRY AND OPEN STAIRCASE AND A MASSIVE GLASS ROOF DOOR MAKE THE SHADOW HOUSE IMPOSSIBLY LIGHT AND OPEN — YET IT’S ONLY 1,400 SQUARE FEET ON A 30’ X 50’ LOT.

THE SHADOW HOUSE IS A PRODUCT OF THE CONTEXT IT SITS WITHIN, YET IT SUBVERTS IT AT THE SAME TIME. IT’S IMPOSSIBLE TO IGNORE IT UP CLOSE, YET FROM AFAR IT DISAPPEARS INTO THE ETHER. A TINY LOT, A LARGE PROGRAM, RESTRICTIVE ZONING REGULATIONS AND AN INVOLVED NEIGHBORHOOD INTEREST GROUP WERE THE CONSTANT AND UNRELENTING PRESSURES THAT CREATED THIS HOUSE — AND THE RESULT IS BETTER OFF FOR IT. THE SCALLOPED SHINGLES ARE A COMMON ELEMENT ACROSS THE NEIGHBORHOOD, BUT ARE OFTEN RESERVED FOR DETAIL AREAS UNDER EAVES, AS THE MATERIAL WAS VERY EXPENSIVE ONE HUNDRED YEARS AGO. WE TOOK THAT HIGHLY-SPECIALIZED, VERY EXCLUSIVE MATERIAL AND APPLIED IT AS A BROAD, MASS-PRODUCED TEXTURE ACROSS THE ENTIRE RESIDENCE — TAKING SOMETHING FROM HIGHLIGHT TO BACKGROUND TEXTURE. THE SILHOUETTE DIRECTLY ECHOES THE ITALIANATE HOMES IN THE LARGER NEIGHBORHOOD — BUT WE STRIPPED THE TYPICAL ORNATE, DECORATED FAÇADE BACK TO UTTER MINIMALISM. WE ENLARGED THE TYPICAL WINDOW SIZE TO EXAGGERATE THE RIGID SYMMETRY OF THE STYLE, AND BROUGHT THEM TO THE FLOOR AND THE CEILING TO PROVIDE AS MUCH LIGHT AS POSSIBLE — AND THEN RECESSED THEM DEEP INTO THE FAÇADE TO MIMIC THE HEAVY BRICK AND STONE LINTELS OF THE PAST. THE HOUSE IS BLACK — THE ONLY COLOR IT COULD BE. IF WE’D PAINTED IT UP LIKE ITS VICTORIAN SISTERS, IT WOULD’VE COMPETED FOR ATTENTION. BLACK CAUSES THE HOUSE TO SIMULTANEOUSLY DISAPPEAR AND STAND OUT — IT IS IMPOSSIBLE TO IGNORE WHILE YOU’RE WALKING PAST, BUT A FEW BLOCKS AWAY IT BECOMES IMPOSSIBLE TO DISCERN AGAINST THE BACKGROUND. TWO BEDROOMS WITH EN-SUITE BATHS, FLOOR-TO-CEILING WINDOWS, AN AIRY AND OPEN STAIRCASE AND A MASSIVE GLASS ROOF DOOR MAKE THE SHADOW HOUSE IMPOSSIBLY LIGHT AND OPEN — YET IT’S ONLY 1,400 SQUARE FEET ON A 30’ X 50’ LOT.

THE SHADOW HOUSE IS A PRODUCT OF THE CONTEXT IT SITS WITHIN, YET IT SUBVERTS IT AT THE SAME TIME. IT’S IMPOSSIBLE TO IGNORE IT UP CLOSE, YET FROM AFAR IT DISAPPEARS INTO THE ETHER. A TINY LOT, A LARGE PROGRAM, RESTRICTIVE ZONING REGULATIONS AND AN INVOLVED NEIGHBORHOOD INTEREST GROUP WERE THE CONSTANT AND UNRELENTING PRESSURES THAT CREATED THIS HOUSE — AND THE RESULT IS BETTER OFF FOR IT. THE SCALLOPED SHINGLES ARE A COMMON ELEMENT ACROSS THE NEIGHBORHOOD, BUT ARE OFTEN RESERVED FOR DETAIL AREAS UNDER EAVES, AS THE MATERIAL WAS VERY EXPENSIVE ONE HUNDRED YEARS AGO. WE TOOK THAT HIGHLY-SPECIALIZED, VERY EXCLUSIVE MATERIAL AND APPLIED IT AS A BROAD, MASS-PRODUCED TEXTURE ACROSS THE ENTIRE RESIDENCE — TAKING SOMETHING FROM HIGHLIGHT TO BACKGROUND TEXTURE. THE SILHOUETTE DIRECTLY ECHOES THE ITALIANATE HOMES IN THE LARGER NEIGHBORHOOD — BUT WE STRIPPED THE TYPICAL ORNATE, DECORATED FAÇADE BACK TO UTTER MINIMALISM. WE ENLARGED THE TYPICAL WINDOW SIZE TO EXAGGERATE THE RIGID SYMMETRY OF THE STYLE, AND BROUGHT THEM TO THE FLOOR AND THE CEILING TO PROVIDE AS MUCH LIGHT AS POSSIBLE — AND THEN RECESSED THEM DEEP INTO THE FAÇADE TO MIMIC THE HEAVY BRICK AND STONE LINTELS OF THE PAST. THE HOUSE IS BLACK — THE ONLY COLOR IT COULD BE. IF WE’D PAINTED IT UP LIKE ITS VICTORIAN SISTERS, IT WOULD’VE COMPETED FOR ATTENTION. BLACK CAUSES THE HOUSE TO SIMULTANEOUSLY DISAPPEAR AND STAND OUT — IT IS IMPOSSIBLE TO IGNORE WHILE YOU’RE WALKING PAST, BUT A FEW BLOCKS AWAY IT BECOMES IMPOSSIBLE TO DISCERN AGAINST THE BACKGROUND. TWO BEDROOMS WITH EN-SUITE BATHS, FLOOR-TO-CEILING WINDOWS, AN AIRY AND OPEN STAIRCASE AND A MASSIVE GLASS ROOF DOOR MAKE THE SHADOW HOUSE IMPOSSIBLY LIGHT AND OPEN — YET IT’S ONLY 1,400 SQUARE FEET ON A 30’ X 50’ LOT.

THE SHADOW HOUSE IS A PRODUCT OF THE CONTEXT IT SITS WITHIN, YET IT SUBVERTS IT AT THE SAME TIME. IT’S IMPOSSIBLE TO IGNORE IT UP CLOSE, YET FROM AFAR IT DISAPPEARS INTO THE ETHER. A TINY LOT, A LARGE PROGRAM, RESTRICTIVE ZONING REGULATIONS AND AN INVOLVED NEIGHBORHOOD INTEREST GROUP WERE THE CONSTANT AND UNRELENTING PRESSURES THAT CREATED THIS HOUSE — AND THE RESULT IS BETTER OFF FOR IT. THE SCALLOPED SHINGLES ARE A COMMON ELEMENT ACROSS THE NEIGHBORHOOD, BUT ARE OFTEN RESERVED FOR DETAIL AREAS UNDER EAVES, AS THE MATERIAL WAS VERY EXPENSIVE ONE HUNDRED YEARS AGO. WE TOOK THAT HIGHLY-SPECIALIZED, VERY EXCLUSIVE MATERIAL AND APPLIED IT AS A BROAD, MASS-PRODUCED TEXTURE ACROSS THE ENTIRE RESIDENCE — TAKING SOMETHING FROM HIGHLIGHT TO BACKGROUND TEXTURE. THE SILHOUETTE DIRECTLY ECHOES THE ITALIANATE HOMES IN THE LARGER NEIGHBORHOOD — BUT WE STRIPPED THE TYPICAL ORNATE, DECORATED FAÇADE BACK TO UTTER MINIMALISM. WE ENLARGED THE TYPICAL WINDOW SIZE TO EXAGGERATE THE RIGID SYMMETRY OF THE STYLE, AND BROUGHT THEM TO THE FLOOR AND THE CEILING TO PROVIDE AS MUCH LIGHT AS POSSIBLE — AND THEN RECESSED THEM DEEP INTO THE FAÇADE TO MIMIC THE HEAVY BRICK AND STONE LINTELS OF THE PAST. THE HOUSE IS BLACK — THE ONLY COLOR IT COULD BE. IF WE’D PAINTED IT UP LIKE ITS VICTORIAN SISTERS, IT WOULD’VE COMPETED FOR ATTENTION. BLACK CAUSES THE HOUSE TO SIMULTANEOUSLY DISAPPEAR AND STAND OUT — IT IS IMPOSSIBLE TO IGNORE WHILE YOU’RE WALKING PAST, BUT A FEW BLOCKS AWAY IT BECOMES IMPOSSIBLE TO DISCERN AGAINST THE BACKGROUND. TWO BEDROOMS WITH EN-SUITE BATHS, FLOOR-TO-CEILING WINDOWS, AN AIRY AND OPEN STAIRCASE AND A MASSIVE GLASS ROOF DOOR MAKE THE SHADOW HOUSE IMPOSSIBLY LIGHT AND OPEN — YET IT’S ONLY 1,400 SQUARE FEET ON A 30’ X 50’ LOT.

The Atlas Chair by Studio Designs Home is architecturally sculpted to create a solid and striking guest chair. The mid-century inspired design easily incorporates with today’s modern homes. The bonded leather is tailored to showcase simple lines and is on padded armrests for added comfort. The eye-catching chrome frame is designed with an extra-deep and extra-wide seating surface so you can relax in style. It is available in a classic Black (Item # 72005), Caramel (72004) or Smoke Grey (Item # 72036) finish.

Living room - traditional living room idea in Calgary