A large space that was made narrow by a second staircase. We took the stairs out and turned it into the principle gathering space for the family, combining the functionalities of living room, great room, family room and media room.

A bold statement and a warm welcome — that’s the tone our client set for this Guest Bathroom Renovation In Bucktown. The blue labyrinth vanity wallpaper introduces a striking element to the room, boasting bold geometric patterns that elevates the overall design. Secret Silver tiles grace the shower wall, niche, and floor, creating a sophisticated atmosphere with its marble effect and contrasting tones. The gray-painted wall and white ceiling tie everything together to create the perfect balance without overwhelming the space. The space is enhanced with the decorative accent of Newbury Glass Penny Mosaic in the shower floor, giving the bathroom an additional creative expression through its distinctive shape and color. The Shadowbox mirror from Shades of Light features a sleek matte black finish, providing depth in the border for both aesthetic appeal and function. The Industrial Triangle Shade Three Light lights up the vanity, embodying industrial minimalism, making the room burst with light and style. This guest bathroom brought our client's vision to life – a modern and inviting space that is functional at the same time. Project designed by Chi Renovation & Design, a renowned renovation firm based in Skokie. We specialize in general contracting, kitchen and bath remodeling, and design & build services. We cater to the entire Chicago area and its surrounding suburbs, with emphasis on the North Side and North Shore regions. You'll find our work from the Loop through Lincoln Park, Skokie, Evanston, Wilmette, and all the way up to Lake Forest. For more info about Chi Renovation & Design, click here: https://www.chirenovation.com/

Dick Clark + Associates Risinger Homes Andrea Calo Photography
Trendy exterior home photo in Austin

This home was designed with a clean, modern aesthetic that imposes a commanding view of its expansive riverside lot. The wide-span, open wing design provides a feeling of open movement and flow throughout the home. Interior design elements are tightly edited to their most elemental form. Simple yet daring lines simultaneously convey a sense of energy and tranquility. Super-matte, zero sheen finishes are punctuated by brightly polished stainless steel and are further contrasted by thoughtful use of natural textures and materials. The judges said “this home would be like living in a sculpture. It’s sleek and luxurious at the same time.” The award for Best In Show goes to RG Designs Inc. and K2 Design Group Designers: Richard Guzman with Jenny Provost From: Bonita Springs, Florida

This 6,000 square foot residence in Newport Beach, CA exemplifies classic elegance through a combination of glass, wood and split-face Roman Travertine. The Roman Travertine was purchased directly from an Italian supplier by the general contractor. Accurate shop drawings and cut lists developed by SMG Stone Company allowed the material to be ordered effectively and ensured a smooth transfer and installation of the stone to the job. Approximately 3,300 square feet of split-face Roman Travertine dressed interior and exterior walls using a mechanical attachment system with stainless steel clips and ungrouted joints. Some onsite work included chiseling face edges to match the split-face finish of each piece. Shop drawings allowed planning for slightly oversized pieces to accomodate the field finishing of 4" thick pieces of a height of 24" and varying lengths of 12: - 60". From an installation stand point the lintels proved to be the biggest challenge of the project because the size of the doors were 6' - 8' and longer. Due to this each piece had to be handled by hand due to the small space of the job site. After five years of stone selection and detailed drawings, this dream home was completed in 2007.

The project is a series of mural panels painted in the artist’s studio and installed on all walls of a dining room. The imagery is of soft landscape with classical architectural elements, loosely based on an Arcadian 18th century French wallpaper scenic. The murals are painted in grisaille, a traditional technique which uses a monochromatic palette of grey to create depth. In this case the artist used the soft painterly style of Fragonard and Boucher to create the lush landscape in the same grey palette. The freshness and vitality of the brushwork distinguishes these murals from printed wall covering. Silver leaf detailing on the pilasters adds a luminous effect. This project won an Acanthus Award for excellence from the Institute of Classical Architecture and Art in 2014.

Photo © Eric Staudenmaier
Trendy backyard patio photo in Los Angeles with no cover

As Sheila Gibson Stoodley writes in an article about this project in Robb Report, “Brian Hemingway is sensitive to light in the best way possible.” “The Vancouver, British Columbia-based architect wanted this 22,000-square-foot home near Boston to glow like a lantern at night, and he attained that goal on behalf of the homeowners.” The wood and stone that Hemingway favored for the home informed the space’s color palette. So critical were these materials that settling on a shade of stain for the Douglas fir and the finishes to be used on the Virginia Mist granite took months of consultation. Walker Zanger, the stone supplier, worked with the owner and with Colin Flavin, a Boston-based architect who partnered with Hemingway, to choose, detail, and fabricate the granite. The stone is used indoors and out, heightening the boundary-blurring effect that the design team desired. Though the owners are ardent art collectors, they did not build their home to showcase specific works; the real artists here are the architects, Hemingway and Flavin. So deft were they at inviting nature into their creation that, from certain angles, it can be hard to tell where the outdoors stops and starts. “There are deliberately no window treatments so that Mother Nature weaves the most beautiful textural backgrounds,” said interior designer Andrew Sheinman, of New York’s Pembrooke & Ives. He oversaw the interiors, working alongside his colleague Michael Lewis. “The seasons change the look and aspect of the house,” said Sheinman, “and we wanted to play on this.” Bleu de Savoie marble, from France, is used in the baths, to contrast with the Virginia Mist granite and soften the palette and give the baths a spa-like serenity. Hand-chiseled Oxford Black granite is used on exterior landscape walls, to tie the Virginia Mist seamlessly to the natural stone outcroppings.

2018 HNA Awards Honorable Mention - Concrete Paver - Residential (size more than 3,000 sf) Contractor: Go Pavers Producer: Orco Designer: Aaron Barnes The homeowner wanted to create a luxurious outdoor space. A one-of-a-kind design, the company combined Orco Villa stones and arranged them in a random pattern to create the outline of a small airplane which accents the shape of the swimming pool. The subtle earthy tones of the stones together create the perfect contrast between the rich blue of the pool water and green tones of the artificial turf installation. What truly takes this design to the next level is the propeller design that was created using Holland stone in Charcoal. The company had the idea of creating a "starburst" effect with the colors, where the dark grey bursts into the a lighter brown (Chateau). To create the symmetrical, rounded shape the company used high end cutting machines to precisely cut each and every edge stone, ensuring they all lay perfectly together. The company also installed red, green and white lights into the system which are reminiscent to the tail lights on a real airplane to create the some of the final touches. Despite being the statement design, the company tied in an alternating runner border in the Manor colorway to truly tie in the pool to the rest of the yard. By incorporating different elements of the back patio, such as the turf, water and overall shape, the company was able to accent the homeowner's front driveway as well. Approximately 3,700 square feet in total, the company combined Orco Villa with Orco Antique Cobble Circle to create an open, welcoming entrance to a lovely home. The company took advantage of the naturally rounded edges of the home and created accents with the circle kit and border detail near an existing water fountain. Similar to the "starburst" effect on the plane propeller, this was replicated on the each circle kit on the front entryway. The artificial turf border around the fountain paired with the Antique Cobble circle kit truly make this piece stand out.

One of the most popular hardwood floor finishing which offers Tom & Peter Flooring is provided by WOCA. If you’ve decided that you want a natural looking wooden floor that is lacquer-free, then the likelihood is that you’ve chosen oil as your way of protecting your wood and making your floor look great at the same time. WOCA for wood flooring comes in various forms and is a great way of making sure that your wood is protected, but at the same time looks natural. A highly popular as well as effective way of treating wood floors, oils effectively penetrate into the wood and in some cases harden into the surface of the floor to stop damage and to maintain the wood in its optimum condition. WOCA Oil finish hardwood flooring has taken the United States market by in 2014 and shows no signs of slowing down in 2016 and now. Here are some of the most common questions we have regarding this type of finish which we will I’m to answer in today’s my blog: Is oil finish as durable as traditional factory urethane finishes with aluminum oxide? When it comes to durability, oil finish flooring tackles the issue with a completely different method. The penetrating oil serves as protection from moisture and wear while allowing the user to feel the wood grains in their bare feet. If compared directly to factory finished aluminum oxide finish, the oil finish flooring will not perform as well to abrasion and impact. However, the beauty of this finish is the fact that it will camouflage any scratches which will inevitably accumulate over time. Will this finish evaporate over time and will this be harmful for indoor air quality? Another concern for oil finished floors its effect on indoor air quality. For on-site applications, some varieties suggest several coats which typically require the residents to be out of the home due to mild odors. However, there are factory finished UV-cured or single coat applications which lessen the downtime. Despite the odors produced during the drying process, oil finish floors rank amongst the lowest for VOC (volatile organic compound) emissions. Certain brands even boast true zero VOC. This fact alone makes oil finished floors one of the best options for green building solutions. “WOCA products are certified by independent laboratories, the German Institute for Biological Building Materials, and are in accordance with DIN–Norm 53–160. WOCA WoodCare Denmark products meet or exceed the most stringent U.S. standards for volatile organic compounds.” –WOCA Oil Finish Manufacture Does this type of finish require additional maintenance which I am not familiar with? For weekly cleaning, oiled floors use a special cleaner which contains an oil and soap mixture. After a period of 12-18 months some oil may evaporate causing the wood grains to appear dry. An additional layer of oil can be reapplied to keep the floor looking fresh. Although oil finished floors require more involvement in periodic maintenance in high traffic areas, this maintenance can be done much easier than the equivalent of an onsite sand and refinish. WOCA Master Color Oil contains pigment, which provides a single-step hardwood floor staining process. Laying down the stain and the finish in one step. This product comes 14 different colors, from Black to Extra White, and you can mix them freely to create various color palettes that will meet the demands of any job. Below are some pictures of the finished job…

The project is a series of mural panels painted in the artist’s studio and installed on all walls of a dining room. The imagery is of soft landscape with classical architectural elements, loosely based on an Arcadian 18th century French wallpaper scenic. The murals are painted in grisaille, a traditional technique which uses a monochromatic palette of grey to create depth. In this case the artist used the soft painterly style of Fragonard and Boucher to create the lush landscape in the same grey palette. The freshness and vitality of the brushwork distinguishes these murals from printed wall covering. Silver leaf detailing on the pilasters adds a luminous effect. This project won an Acanthus Award for excellence from the Institute of Classical Architecture and Art in 2014.

As Sheila Gibson Stoodley writes in an article about this project in Robb Report, “Brian Hemingway is sensitive to light in the best way possible.” “The Vancouver, British Columbia-based architect wanted this 22,000-square-foot home near Boston to glow like a lantern at night, and he attained that goal on behalf of the homeowners.” The wood and stone that Hemingway favored for the home informed the space’s color palette. So critical were these materials that settling on a shade of stain for the Douglas fir and the finishes to be used on the Virginia Mist granite took months of consultation. Walker Zanger, the stone supplier, worked with the owner and with Colin Flavin, a Boston-based architect who partnered with Hemingway, to choose, detail, and fabricate the granite. The stone is used indoors and out, heightening the boundary-blurring effect that the design team desired. Though the owners are ardent art collectors, they did not build their home to showcase specific works; the real artists here are the architects, Hemingway and Flavin. So deft were they at inviting nature into their creation that, from certain angles, it can be hard to tell where the outdoors stops and starts. “There are deliberately no window treatments so that Mother Nature weaves the most beautiful textural backgrounds,” said interior designer Andrew Sheinman, of New York’s Pembrooke & Ives. He oversaw the interiors, working alongside his colleague Michael Lewis. “The seasons change the look and aspect of the house,” said Sheinman, “and we wanted to play on this.” Bleu de Savoie marble, from France, is used in the baths, to contrast with the Virginia Mist granite and soften the palette and give the baths a spa-like serenity. Hand-chiseled Oxford Black granite is used on exterior landscape walls, to tie the Virginia Mist seamlessly to the natural stone outcroppings.

This article is posted here with the consent of the author. The views and opinions expressed in this article are those of the author and do not necessarily reflect the official policy, position, view, or opinion of Crestron Electronics, Inc., or of any of its employees. Crestron Electronics is not responsible for, and does not verify the accuracy of, any of the information contained in this article. By Jeff Singer The “smart” revolution began several years ago with smartphones (a.k.a phones) and has extended in recent years to thermostats, doorbells, alarm systems, and kitchen appliances. Smart devices are so ubiquitous that the term “smart” is overused to the point that it is almost meaningless. Companies are eager to jump on the bandwagon and claim their products are “smart,” and consumers proudly claim they have a smart home because they have lighting control. Misconceptions about smart homes are prevalent and create confusion in the marketplace. This can have deleterious effects on businesses and underserve consumers. Here are seven of the most popular misconceptions about smart homes: 1. Apps are smart Apps are convenient and easy to use. Yes, it seems there’s an app for everything. People expect to be able to download an app and do just about anything. App developers and many companies do not disavow consumers of this myth. On the contrary, they promote this idea with carefully worded descriptions. The promise of having the world at your fingertips for $1.99 is very enticing. Although it sounds too good to be true, it is also too good to pass up for many people. This leads to undervaluing home control and disappointment when the apps don’t work, which undermines confidence in our industry. The fact is that apps are not smart. They do not control anything. They must connect to and communicate with a control system or cloud service that processes, prioritizes, and executes commands. That’s the real magic and what most people do not understand. 2. Smart devices work together With so many smart appliances and devices on the market today, it’s understandable that the average consumer might think that they actually communicate and work together. This is simply not the case. Smart devices are not that smart. They are designed and manufactured by different, often competing, companies. There are no national or industry standards governing these products. Even if they all operate using Wi-Fi® communications, that doesn’t mean they work together. Some companies promote a home control platform, which unites different devices from different companies – in theory. The platform is yet another third-party software totally dependent on other companies developing APIs and writing control modules for their hardware to run on that piece of software. The devices are not independently compatible. Also, when updates are made to either the hardware or the software, functionality may be affected for some period. That’s a nice way of saying the device or system won’t work and there’s no way of knowing for how long. 3. It’s a DIY project Which brings us to the next myth, which is that the average person can do it themselves. Unless you are a skilled professional, I would not advise taking on a smart home project. You want to make a light turn on and off with your Alexa® or Google Assistant™ virtual assistant software, go for it. A smart home takes much more planning and expertise. I have no problem changing a light bulb or hanging a light fixture in my dining room; however, I am not going to rewire my house. I may change the flush valve in my toilet, but I’m not going to replace the pipes in my house. You get it. Integrating devices and systems, establishing different zones, creating scenes, designing the UI with a balance between control, feedback, and simplicity – all takes experience and skill. 4. Need a programmer to make changes Early adopters may have experienced the pain of trying to make a simple change or update to their home control system. Years ago, if the cable provider changed the channel line-up, the homeowner would have to call the dealer or programmer to make an appointment for them to come out to the house to reprogram the system. The system wouldn’t work as expected until it was updated, which often took several days and beaucoup bucks. Not anymore. Technology has evolved so now it’s easy for system owners to change favorite channels, create scenes, rename buttons, update images, and more. While a professional is needed for the initial installation and setup, the system is easy to manage once it’s up and running. This makes life so much easier for both dealer and customer. 5. Tech becomes obsolete quickly Similar to updating the UI, updating firmware or hardware used to be a stressful process. A smart home should be intelligent enough to update itself. Apps don’t become obsolete. Updates are constantly pushed out from the cloud, making them better all the time. The same is true for a good smart home system. New features, functions, and device support gets added in the background consistently, so the system you installed (or purchased) yesterday gets better over time. Swapping out decorative elements, such as keypads, dimmers, and touch screens is also seamless. When a new device is added, all the settings are pulled down from the cloud and it just works. No system interruptions. No sunk costs. No imposing house calls. No surprise bills. 6. Lighting control saves energy and money Lighting control is one of the most popular smart systems, but it takes more than just one system to make a home smart. On the surface, it makes sense that if you dim the lights ten percent, then you save ten percent of energy costs. If the shades are raised during the day to take advantage of sunlight so the lights don’t need to be on (or at least not 100%), but that causes the room temperature to rise a few degrees, which triggers the air conditioner to run longer and more often, was energy usage (or cost) reduced? A smart home integrates all the various systems and technology to optimize comfort, convenience, safety, and sometimes energy. 7. Home technology is easy to hack Security is at the forefront of people’s minds these days. Personal identities are stolen; email accounts hacked; private photos publicized; and more. A smart home must outsmart those who don’t respect privacy. Crestron control systems adhere to the strictest security standards. The same Crestron control system that goes into a home is also installed in secure government and military facilities, global banking institutions, hospitals, and other mission critical applications. When installed correctly by a trained professional, a Crestron smart home is the gold standard for security, comfort, and convenience.

As Sheila Gibson Stoodley writes in an article about this project in Robb Report, “Brian Hemingway is sensitive to light in the best way possible.” “The Vancouver, British Columbia-based architect wanted this 22,000-square-foot home near Boston to glow like a lantern at night, and he attained that goal on behalf of the homeowners.” The wood and stone that Hemingway favored for the home informed the space’s color palette. So critical were these materials that settling on a shade of stain for the Douglas fir and the finishes to be used on the Virginia Mist granite took months of consultation. Walker Zanger, the stone supplier, worked with the owner and with Colin Flavin, a Boston-based architect who partnered with Hemingway, to choose, detail, and fabricate the granite. The stone is used indoors and out, heightening the boundary-blurring effect that the design team desired. Though the owners are ardent art collectors, they did not build their home to showcase specific works; the real artists here are the architects, Hemingway and Flavin. So deft were they at inviting nature into their creation that, from certain angles, it can be hard to tell where the outdoors stops and starts. “There are deliberately no window treatments so that Mother Nature weaves the most beautiful textural backgrounds,” said interior designer Andrew Sheinman, of New York’s Pembrooke & Ives. He oversaw the interiors, working alongside his colleague Michael Lewis. “The seasons change the look and aspect of the house,” said Sheinman, “and we wanted to play on this.” Bleu de Savoie marble, from France, is used in the baths, to contrast with the Virginia Mist granite and soften the palette and give the baths a spa-like serenity. Hand-chiseled Oxford Black granite is used on exterior landscape walls, to tie the Virginia Mist seamlessly to the natural stone outcroppings.

As Sheila Gibson Stoodley writes in an article about this project in Robb Report, “Brian Hemingway is sensitive to light in the best way possible.” “The Vancouver, British Columbia-based architect wanted this 22,000-square-foot home near Boston to glow like a lantern at night, and he attained that goal on behalf of the homeowners.” The wood and stone that Hemingway favored for the home informed the space’s color palette. So critical were these materials that settling on a shade of stain for the Douglas fir and the finishes to be used on the Virginia Mist granite took months of consultation. Walker Zanger, the stone supplier, worked with the owner and with Colin Flavin, a Boston-based architect who partnered with Hemingway, to choose, detail, and fabricate the granite. The stone is used indoors and out, heightening the boundary-blurring effect that the design team desired. Though the owners are ardent art collectors, they did not build their home to showcase specific works; the real artists here are the architects, Hemingway and Flavin. So deft were they at inviting nature into their creation that, from certain angles, it can be hard to tell where the outdoors stops and starts. “There are deliberately no window treatments so that Mother Nature weaves the most beautiful textural backgrounds,” said interior designer Andrew Sheinman, of New York’s Pembrooke & Ives. He oversaw the interiors, working alongside his colleague Michael Lewis. “The seasons change the look and aspect of the house,” said Sheinman, “and we wanted to play on this.” Bleu de Savoie marble, from France, is used in the baths, to contrast with the Virginia Mist granite and soften the palette and give the baths a spa-like serenity. Hand-chiseled Oxford Black granite is used on exterior landscape walls, to tie the Virginia Mist seamlessly to the natural stone outcroppings.

As Sheila Gibson Stoodley writes in an article about this project in Robb Report, “Brian Hemingway is sensitive to light in the best way possible.” “The Vancouver, British Columbia-based architect wanted this 22,000-square-foot home near Boston to glow like a lantern at night, and he attained that goal on behalf of the homeowners.” The wood and stone that Hemingway favored for the home informed the space’s color palette. So critical were these materials that settling on a shade of stain for the Douglas fir and the finishes to be used on the Virginia Mist granite took months of consultation. Walker Zanger, the stone supplier, worked with the owner and with Colin Flavin, a Boston-based architect who partnered with Hemingway, to choose, detail, and fabricate the granite. The stone is used indoors and out, heightening the boundary-blurring effect that the design team desired. Though the owners are ardent art collectors, they did not build their home to showcase specific works; the real artists here are the architects, Hemingway and Flavin. So deft were they at inviting nature into their creation that, from certain angles, it can be hard to tell where the outdoors stops and starts. “There are deliberately no window treatments so that Mother Nature weaves the most beautiful textural backgrounds,” said interior designer Andrew Sheinman, of New York’s Pembrooke & Ives. He oversaw the interiors, working alongside his colleague Michael Lewis. “The seasons change the look and aspect of the house,” said Sheinman, “and we wanted to play on this.” Bleu de Savoie marble, from France, is used in the baths, to contrast with the Virginia Mist granite and soften the palette and give the baths a spa-like serenity. Hand-chiseled Oxford Black granite is used on exterior landscape walls, to tie the Virginia Mist seamlessly to the natural stone outcroppings.

The project is a series of mural panels painted in the artist’s studio and installed on all walls of a dining room. The imagery is of soft landscape with classical architectural elements, loosely based on an Arcadian 18th century French wallpaper scenic. The murals are painted in grisaille, a traditional technique which uses a monochromatic palette of grey to create depth. In this case the artist used the soft painterly style of Fragonard and Boucher to create the lush landscape in the same grey palette. The freshness and vitality of the brushwork distinguishes these murals from printed wall covering. Silver leaf detailing on the pilasters adds a luminous effect. This project won an Acanthus Award for excellence from the Institute of Classical Architecture and Art in 2014.

As Sheila Gibson Stoodley writes in an article about this project in Robb Report, “Brian Hemingway is sensitive to light in the best way possible.” “The Vancouver, British Columbia-based architect wanted this 22,000-square-foot home near Boston to glow like a lantern at night, and he attained that goal on behalf of the homeowners.” The wood and stone that Hemingway favored for the home informed the space’s color palette. So critical were these materials that settling on a shade of stain for the Douglas fir and the finishes to be used on the Virginia Mist granite took months of consultation. Walker Zanger, the stone supplier, worked with the owner and with Colin Flavin, a Boston-based architect who partnered with Hemingway, to choose, detail, and fabricate the granite. The stone is used indoors and out, heightening the boundary-blurring effect that the design team desired. Though the owners are ardent art collectors, they did not build their home to showcase specific works; the real artists here are the architects, Hemingway and Flavin. So deft were they at inviting nature into their creation that, from certain angles, it can be hard to tell where the outdoors stops and starts. “There are deliberately no window treatments so that Mother Nature weaves the most beautiful textural backgrounds,” said interior designer Andrew Sheinman, of New York’s Pembrooke & Ives. He oversaw the interiors, working alongside his colleague Michael Lewis. “The seasons change the look and aspect of the house,” said Sheinman, “and we wanted to play on this.” Bleu de Savoie marble, from France, is used in the baths, to contrast with the Virginia Mist granite and soften the palette and give the baths a spa-like serenity. Hand-chiseled Oxford Black granite is used on exterior landscape walls, to tie the Virginia Mist seamlessly to the natural stone outcroppings.

As Sheila Gibson Stoodley writes in an article about this project in Robb Report, “Brian Hemingway is sensitive to light in the best way possible.” “The Vancouver, British Columbia-based architect wanted this 22,000-square-foot home near Boston to glow like a lantern at night, and he attained that goal on behalf of the homeowners.” The wood and stone that Hemingway favored for the home informed the space’s color palette. So critical were these materials that settling on a shade of stain for the Douglas fir and the finishes to be used on the Virginia Mist granite took months of consultation. Walker Zanger, the stone supplier, worked with the owner and with Colin Flavin, a Boston-based architect who partnered with Hemingway, to choose, detail, and fabricate the granite. The stone is used indoors and out, heightening the boundary-blurring effect that the design team desired. Though the owners are ardent art collectors, they did not build their home to showcase specific works; the real artists here are the architects, Hemingway and Flavin. So deft were they at inviting nature into their creation that, from certain angles, it can be hard to tell where the outdoors stops and starts. “There are deliberately no window treatments so that Mother Nature weaves the most beautiful textural backgrounds,” said interior designer Andrew Sheinman, of New York’s Pembrooke & Ives. He oversaw the interiors, working alongside his colleague Michael Lewis. “The seasons change the look and aspect of the house,” said Sheinman, “and we wanted to play on this.” Bleu de Savoie marble, from France, is used in the baths, to contrast with the Virginia Mist granite and soften the palette and give the baths a spa-like serenity. Hand-chiseled Oxford Black granite is used on exterior landscape walls, to tie the Virginia Mist seamlessly to the natural stone outcroppings.