John Cole
Inspiration for a transitional home design remodel in DC Metro

Minimalist design meets modern living! This Scandinavian-inspired rowhome features geothermal heating, triple-pane windows, a stunning sauna, and a rooftop deck. All within walking distance to Linden Hills, Bde Maka Ska, and Lake Harriet!

Example of a transitional bathroom design in Austin

Photo: Lauren Andersen © 2018 Houzz
Kitchen - eclectic kitchen idea in San Francisco

Example of a country l-shaped dark wood floor and brown floor home design design in New York with a farmhouse sink, raised-panel cabinets, beige cabinets, granite countertops, brown backsplash, brick backsplash, stainless steel appliances and an island

Location: Nantucket, MA, USA A gorgeous New England beach compound which features a tranquil, sophisticated kitchen. The blue backsplash is the perfect backdrop to a sunny breakfast at the island or a glamorous dinner party in the paneled banquet. The cabinets are accented with hand-made European hardware that enhances the bespoke nature of the kitchen. The children's bathroom has a fun penny tile on the floor juxtaposed against the over-sized subway wall tile. The master bath features crystal fixtures and fittings imported from France. threshold interiors loves working with our clients to produce the perfect blend of relaxation and sophistication in your beach home! Photographed by: Michael Partenio

GC: Ekren Construction Photography: Tiffany Ringwald
Eat-in kitchen - mid-sized transitional l-shaped medium tone wood floor and brown floor eat-in kitchen idea in Charlotte with a farmhouse sink, shaker cabinets, white cabinets, quartz countertops, gray backsplash, porcelain backsplash, stainless steel appliances, an island and white countertops

Home design - transitional home design idea in Minneapolis

Photography by Anthony Crisafulli
Patio - small eclectic backyard brick patio idea in New York

This is a quintessentially urban prewar-into-modern hybrid: a broad, laterally organized reception room whose principal architectural gesture is the corner glazing that dissolves two walls into a panoramic register of treetops and distant skyline. The plan reads as a series of soft, overlapping conversational precincts rather than a single axial arrangement — a pair of swivel-capable lounge chairs anchoring the window wall, a facing pair of high-backed tub chairs, and a deep tuxedo-profile sofa closing the composition toward the viewer — all orbiting an organically contoured cocktail table that performs as the room's centrifugal keystone. The ceiling is treated with a recessed reveal and shallow soffit that traces the perimeter, a device that both conceals drapery hardware and lifts the plane visually, granting the low-slung modern floor plate an unexpected sense of loft. A blade wall carrying a single framed canvas performs critical spatial work, terminating the living volume while permitting an enfilade sightline through to a secondary dining zone beyond, where a glazed wall of ivy-clad courtyard reads as a green tapestry. The geometry throughout is deliberately curvilinear — barrel-backed seating, amoeboid tabletops, splayed tapered legs — set against the orthogonal discipline of window mullions, drapery pleats, and rectilinear millwork, producing a productive tension between architectural rigor and furnishings that behave sculpturally. **II. Materiality, Color & Texture** The palette is a study in tonal restraint calibrated for maximum textural incident. Walls are finished in a matte, faintly striated plaster or grasscloth with a warm ecru undertone that absorbs rather than reflects light, establishing a neutral field against which every surface differential registers. Seating is upholstered in a lustrous chenille or crushed velvet of pale greige, whose short pile catches raking daylight and reads almost pearlescent, while the foreground sofa introduces a coarser boucle in an oatmeal register and the opposing sofa shifts decisively into a saturated tobacco-and-umber channel-tufted chenille, its French-polished rosewood or macassar ebony frame supplying the room's darkest, most reflective note. Stone is deployed with connoisseurial precision: the cocktail tables are honed alabaster or backlit-quality onyx, their translucent creamy strata and honey veining offering a warm mineral counterpoint to the cool, ink-washed abstraction of the hand-knotted area rug, which functions as a painterly ground — a gestural silver-and-charcoal wash pooling beneath the furniture. Bronze, patinated brass, and stainless accents appear in table bases, the vessel-form vase, and the sconce, providing metallic punctuation without gleam. Drapery in a heavy sand-toned linen, edged in a beaded or embroidered tape, softens the glazing perimeter and reinforces the room's tactile vocabulary of nap, weave, slub, and polish. **III. Lighting, Atmosphere & Style Profile** Natural light is the dominant luminous strategy: the corner glazing admits a soft, diffuse northern wash under overcast conditions, which the designer has intelligently accepted rather than resisted — the flat, shadowless quality flatters the velvet piles and plaster walls, and the drapery is stacked to admit maximum daylight while modulating glare at the jambs. Artificial sources are almost entirely concealed or decorative: a slim architectural sconce on the blade wall, a sculptural biomorphic table lamp in white lacquer or ceramic in the dining zone, and an extraordinary petal-form pendant in patinated metal that reads as an art object first and a fixture second. The resulting atmosphere is hushed, cerebral, and quietly patrician — a room of low chroma and high material intelligence, where drama is supplied by silhouette and surface rather than by color or ornament. Stylistically, the project synthesizes into what might best be termed **Modernist Salon** or **Warm Continental Minimalism**: the DNA of mid-century French decorative arts — Royère, Frank, Adnet — filtered through a contemporary sensibility of tonal layering and soft geometry, with an Art Deco undertow in the ebonized woods and channel tufting. It is a scheme of curatorial discipline: nothing is decorative for its own sake, the view is treated as the primary artwork, and every material is selected for how it behaves in light.

## Spatial Composition & Architectural Volume This is a kitchen conceived less as a service zone than as a precisely calibrated architectural volume, resolved through an L-configuration of full-height cabinetry that terminates against a monolithic island set on an intentional diagonal to the orthogonal grid of the herringbone flooring. The island's waterfall treatment — a slab returning to the floor in a single unbroken plane — functions as both a peninsular counter and a piece of quasi-sculptural infrastructure, its overhang generating a shallow banquette-adjacent seating zone without resorting to a conventional breakfast bar. Above, a coffered soffit executed in flush drywall with a continuous cove-lit reveal establishes a datum line that both compresses and defines the working core, while the adjacent tray ceiling reads as a distinct volume, spatially decoupling the kitchen from the living room beyond. That threshold is the composition's most disciplined gesture: a wide cased opening framed in mitered rift-cut oak paneling, its architrave articulated as a shadow-gapped reveal rather than applied trim, drawing a deep enfilade sightline through to the window wall, its Roman shades, and the mid-rise cityscape beyond. Millwork here performs structurally as well as visually — the oak-clad pilasters and the fluted, hand-carved textural panel at right operate as pseudo-columnar elements, organizing the plan into legible bays. ## Materiality, Color & Texture The palette is constructed on a deliberate dialectic between two wood registers. The envelope employs a pale, quarter-sawn white oak with a honeyed, faintly amber undertone, its figure suppressed and its finish matte, functioning as a luminous neutral ground. Against this, the cabinetry deploys a deeply fumed or ebonized ash — likely a heavily lacquered, open-grain veneer — where the cathedral figuring is exaggerated into near-graphic striation and the high-gloss sheen produces a lacquered, almost Art Deco lustre. This contrast of value (blonde against bitter chocolate) and of sheen (matte against specular) is the project's principal tension. Mediating between them is the stone: a white quartzite or dolomitic marble with soft grey-taupe veining and a distinctly warm, cream-adjacent field, book-matched across the full-height backsplash and repeated on the island slab, its subtly honed surface refusing the glare of a polished finish. Metallic accents are restrained and consistently warm — satin brass on the pendant canopies and stool footrails, blackened bronze on the hardware, glazing frames, and the stools' slender tubular frames. Textiles introduce a low-frequency counterpoint: nubby bouclé upholstery on the sectional, a striated woven sheer at left, ikat-patterned cushions, and a tonal blue-grey geometric rug that supplies the only chromatic departure from the room's ochre-to-espresso spectrum. ## Lighting, Atmosphere & Style Profile The lighting scheme is layered with unusual rigor. Daylight is admitted obliquely, filtered through the plaid-toned Roman shades of the adjacent living room, so the kitchen receives it secondhand — soft, directional, and already warmed. Artificial light works in three tiers: the recessed cove uplighting that grazes the soffit and dissolves the ceiling's edges; concealed under-cabinet illumination that renders the stone backsplash as a glowing plane; and the pair of spun-brass disc pendants suspended on slender blackened stems, whose downward-facing diffusers deliver a controlled pool of task light while their polished undersides register as small suns in the composition. The absence of visible downlight clutter is notable and disciplined. The resulting atmosphere is enveloping and low-glare — cosseting rather than clinical — with a distinctly residential, almost salon-like decorum reinforced by the framed genre painting hung casually on the oak paneling, a curatorial gesture that domesticates the kitchen decisively. Stylistically, the project reads as **Warm Modernist Luxe**, drawing on the vocabulary of high-craft European cabinetry and mid-century Milanese interiors: the grain-forward veneers, brass discs, and slender bronze seating carry a whisper of 1970s Italian sophistication, while the flush detailing, shadow-gap reveals, and rigorous suppression of ornament situate it firmly in contemporary practice. It is tailored rather than austere — a demonstration that minimalist discipline and material sensuality need not be adversaries.

Jim Bartsch
Example of a trendy hallway design in San Francisco

**I. Spatial Composition & Architectural Volume** This powder room operates as a compressed, processional vestibule — a jewel-box volume whose narrowness is deliberately weaponized to intensify the encounter with a single focal event. The plan reads as a tight rectilinear corridor, entered obliquely past a pivoting sculptural door leaf at the left foreground, with the sightline funnelling directly to a recessed alcove at the terminal wall. That alcove is the compositional engine of the room: a deep, orthogonal reveal framed in slender blackened-metal profiles, within which a monolithic marble vanity cantilevers as a full-width plinth, its shadow-gap plinth detail dissolving the mass into apparent levitation. The full-height glazed screens flanking both side walls — divided into a disciplined grid of stile-and-rail metal mullions above a stone dado — introduce a Miesian rhythm of verticals that visually widen the space while preserving enclosure. Above, a crisp plaster soffit with a razor-thin perimeter reveal caps the volume, while the mullion grid's continuation across the ceiling plane and door surround creates a cage-like armature, an architectural drawing rendered in three dimensions. The suspended, wall-hung water closet at left is deliberately subordinated, half-concealed by the stone return, ensuring the axial procession terminates not on plumbing but on art. **II. Materiality, Color & Texture** The material palette is orchestrated as a controlled dialogue between the geologic, the vegetal, and the metallic. Book-matched Calacatta Viola — or a closely related Paonazzo — sheathes the dado and vanity in slabs whose oxblood, umber, and graphite veining reads as gestural brushwork, its cool bone-white ground counterweighted by the warm ferrous rust of its fissures; the veining on the right-hand wall is sequenced to cascade, treating stone as a continuous painterly field rather than a modular cladding. Against this, the foreground door presents a deeply carved, three-dimensional sculpted timber relief in a mid-tone oak or walnut, its undulating, plaited chevron texture introducing a haptic, almost textile-like tactility that provides the composition's most overtly artisanal register. The glazed screens deploy reeded or fluted glass in a smoky sage-olive cast, their striations diffusing and abstracting whatever lies beyond into vertical striae of light — a translucent counterpoint to the opacity of stone and wood. Blackened bronze or patinated steel mullions supply the graphic scaffolding, while unlacquered brass appears as accent punctuation: the gooseneck spout with exposed swivel collar, and, most emphatically, the flame-patinated bronze oval of the mirror frame, whose molten amber bloom is the single high-saturation event in an otherwise desaturated envelope of greys, greiges, and bone. Underfoot, chevron-laid oak parquet in a soft tobacco stain grounds the palette and repeats the door's zigzag geometry at a domestic scale. **III. Lighting, Atmosphere & Style Profile** Lighting is handled with theatrical restraint and a distinctly museological logic. The terminal alcove is backlit by a full-height plane of sheer, pinch-pleated linen sheers washed with daylight — an ambiguous, screened luminance that functions as a lightbox, silhouetting the mirror and reading as a window without conceding a view. Concealed cove or perimeter LED at the soffit reveal lifts the ceiling and grazes the plaster, while the reeded glass side screens capture and refract borrowed light along their flutes, producing a soft vertical shimmer that keeps the narrow volume from collapsing into gloom. The lower register is intentionally darker, the recessed shadow gap beneath the vanity and the bronze toe detail anchoring the composition in a low-key, chiaroscuro base. The atmosphere is hushed, contemplative, and faintly ecclesiastical — the alcove operating as a reredos, the framed portrait glimpsed in the mirror's reflection functioning as an unexpected, wry apparition that injects narrative and humor into an otherwise austere scheme. Stylistically, the room synthesizes into what might be termed *Tactile Luxe Modernism* or Refined Warm Modernism: the structural clarity and metal-gridded transparency of mid-century International Style, tempered by Italian post-war sensuality in the bronze and marble, and finally humanized by contemporary craft-forward texture. The result is a space of considerable discipline that nonetheless privileges touch, patina, and surprise over minimalist abstinence.

Exterior of the Arthur Rutenberg Homes Asheville 1267 model home built by Greenville, SC home builders, American Eagle Builders.
Example of a large classic beige two-story brick gable roof design with a shingle roof

Design by #JGKB in McLean, Virginia. Photography by Bob Narod.
Large transitional l-shaped medium tone wood floor open concept kitchen photo in DC Metro with an undermount sink, recessed-panel cabinets, white cabinets, granite countertops, beige backsplash, stainless steel appliances and an island

The homeowners of this condo sought our assistance when downsizing from a large family home on Howe Sound to a small urban condo in Lower Lonsdale, North Vancouver. They asked us to incorporate many of their precious antiques and art pieces into the new design. Our challenges here were twofold; first, how to deal with the unconventional curved floor plan with vast South facing windows that provide a 180 degree view of downtown Vancouver, and second, how to successfully merge an eclectic collection of antique pieces into a modern setting. We began by updating most of their artwork with new matting and framing. We created a gallery effect by grouping like artwork together and displaying larger pieces on the sections of wall between the windows, lighting them with black wall sconces for a graphic effect. We re-upholstered their antique seating with more contemporary fabrics choices - a gray flannel on their Victorian fainting couch and a fun orange chenille animal print on their Louis style chairs. We selected black as an accent colour for many of the accessories as well as the dining room wall to give the space a sophisticated modern edge. The new pieces that we added, including the sofa, coffee table and dining light fixture are mid century inspired, bridging the gap between old and new. White walls and understated wallpaper provide the perfect backdrop for the colourful mix of antique pieces. Interior Design by Lori Steeves, Simply Home Decorating. Photos by Tracey Ayton Photography

The homeowners of this condo sought our assistance when downsizing from a large family home on Howe Sound to a small urban condo in Lower Lonsdale, North Vancouver. They asked us to incorporate many of their precious antiques and art pieces into the new design. Our challenges here were twofold; first, how to deal with the unconventional curved floor plan with vast South facing windows that provide a 180 degree view of downtown Vancouver, and second, how to successfully merge an eclectic collection of antique pieces into a modern setting. We began by updating most of their artwork with new matting and framing. We created a gallery effect by grouping like artwork together and displaying larger pieces on the sections of wall between the windows, lighting them with black wall sconces for a graphic effect. We re-upholstered their antique seating with more contemporary fabrics choices - a gray flannel on their Victorian fainting couch and a fun orange chenille animal print on their Louis style chairs. We selected black as an accent colour for many of the accessories as well as the dining room wall to give the space a sophisticated modern edge. The new pieces that we added, including the sofa, coffee table and dining light fixture are mid century inspired, bridging the gap between old and new. White walls and understated wallpaper provide the perfect backdrop for the colourful mix of antique pieces. Interior Design by Lori Steeves, Simply Home Decorating. Photos by Tracey Ayton Photography

The homeowners of this condo sought our assistance when downsizing from a large family home on Howe Sound to a small urban condo in Lower Lonsdale, North Vancouver. They asked us to incorporate many of their precious antiques and art pieces into the new design. Our challenges here were twofold; first, how to deal with the unconventional curved floor plan with vast South facing windows that provide a 180 degree view of downtown Vancouver, and second, how to successfully merge an eclectic collection of antique pieces into a modern setting. We began by updating most of their artwork with new matting and framing. We created a gallery effect by grouping like artwork together and displaying larger pieces on the sections of wall between the windows, lighting them with black wall sconces for a graphic effect. We re-upholstered their antique seating with more contemporary fabrics choices - a gray flannel on their Victorian fainting couch and a fun orange chenille animal print on their Louis style chairs. We selected black as an accent colour for many of the accessories as well as the dining room wall to give the space a sophisticated modern edge. The new pieces that we added, including the sofa, coffee table and dining light fixture are mid century inspired, bridging the gap between old and new. White walls and understated wallpaper provide the perfect backdrop for the colourful mix of antique pieces. Interior Design by Lori Steeves, Simply Home Decorating. Photos by Tracey Ayton Photography