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Stuart Wade, Envision Virtual Tours
The second-largest and most developed of Georgia's barrier islands, St. Simons is approximately twelve miles long and nearly three miles wide at its widest stretch (roughly the size of Manhattan Island in New York). The island is located in Glynn County on Georgia's coast and lies east of Brunswick (the seat of Glynn County), south of Little St. Simons Island and the Hampton River, and north of Jekyll Island. The resort community of Sea Island is separated from St. Simons on the east by the Black Banks River. Known for its oak tree canopies and historic landmarks, St. Simons is both a tourist destination and, according to the 2010 U.S. census, home to 12,743 residents.
Early History
The earliest
St. Simons Island Village
record of human habitation on the island dates to the Late Archaic Period, about 5,000 to 3,000 years ago. Remnants of shell rings left behind by Native Americans from this era survive on many of the barrier islands, including St. Simons. Centuries later, during the period known by historians as the chiefdom era, the Guale Indians established a chiefdom centered on St. Catherines Island and used St. Simons as their hunting and fishing grounds. By 1500 the Guale had established a permanent village of about 200 people on St. Simons, which they called Guadalquini.
Beginning in 1568, the Spanish attempted to create missions along the Georgia coast. Catholic missions were the primary means by which Georgia's indigenous Native American chiefdoms were assimilated into the Spanish colonial system along the northern frontier of greater Spanish Florida. In the 1600s St. Simons became home to two Spanish missions: San Buenaventura de Guadalquini, on the southern tip of the island, and Santo Domingo de Asao (or Asajo), on the northern tip. Located on the inland side of the island were the pagan refugee villages of San Simón, the island's namesake, and Ocotonico. In 1684 pirate raids left the missions and villages largely abandoned.
Colonial History
As
Fort Frederica
early as 1670, with Great Britain's establishment of the colony of Carolina and its expansion into Georgia territory, Spanish rule was threatened by the English. The Georgia coast was considered "debatable land" by England and Spain, even though Spain had fully retreated from St. Simons by 1702. Thirty-one years later General James Edward Oglethorpe founded the English settlement of Savannah. In 1736 he established Fort Frederica, named after the heir to the British throne, Frederick Louis, prince of Wales, on the west side of St. Simons Island to protect Savannah and the Carolinas from the Spanish threat.
Between 1736 and 1749 Fort Frederica was the hub of British military operations along the Georgia frontier. A town of the same name grew up around the fort and was of great importance to the new colony. By 1740 Frederica's population was 1,000. In 1736 the congregation of what would become Christ Church was organized within Fort Frederica as a mission of the Church of England. Charles Wesley led the first services. In 1742 Britain's decisive victory over Spain in the Battle of Bloody Marsh, during the War of Jenkins' Ear, ended the Spanish threat to the Georgia coast. When the British regimen disbanded in 1749, most of the townspeople relocated to the mainland. Fort Frederica went into decline and, except for a short time of prosperity during the 1760s and 1770s under the leadership of merchant James Spalding, never fully recovered. Today the historic citadel's tabby ruins are maintained by the National Park Service.
Plantation Era
By the start of the American Revolution (1775-83), Fort Frederica was obsolete, and St. Simons was left largely uninhabited as most of its residents joined the patriot army. Besides hosting a small Georgia naval victory on the Fort Frederica River, providing guns from its famous fort for use at Fort Morris in Sunbury, and serving as an arena for pillaging by privateers and British soldiers, the island played almost no role in the war.
Following the war, many of the townspeople, their businesses destroyed, turned to agriculture. The island was transformed into fourteen cotton plantations after acres of live oak trees were cleared for farm land and used for building American warships, including the famous USS Constitution, or "Old Ironsides." Although rice was the predominant crop along the neighboring Altamaha River, St. Simons was known for its production of long-staple cotton, which soon came to be known as Sea Island cotton.
Between
Ebos Landing
the 1780s and the outbreak of the Civil War (1861-65), St. Simons's plantation culture flourished. The saline atmosphere and the availability of cheap slave labor proved an ideal combination for the cultivation of Sea Island cotton. In 1803 a group of Ebo slaves who survived the Middle Passage and arrived on the west side of St. Simons staged a rebellion and drowned themselves. The sacred site is known today as Ebos Landing.
One of the largest owners of land and slaves on St. Simons was Pierce Butler, master of Hampton Point Plantation, located on the northern end of the island. By 1793 Butler owned more than 500 slaves, who cultivated 800 acres of cotton on St. Simons and 300 acres of rice on Butler's Island in the Altamaha River delta. Butler's grandson, Pierce Mease Butler, who at the age of sixteen inherited a share of his grandfather's estate in 1826, was responsible for the largest sale of human beings in the history of the United States: in 1859, to restore his squandered fortune, he sold 429 slaves in Savannah for more than $300,000. The British actress and writer Fanny Kemble, whose tumultuous marriage to Pierce ended in divorce in 1849, published an eyewitness account of the evils of slavery on St. Simons in her book Journal of a Residence on a Georgian Plantation in 1838-1839 (1863).
Another
Retreat Plantation
large owner of land and slaves on St. Simons was Major William Page, a friend and employee of Pierce Butler Sr. Before purchasing Retreat Plantation on the southwestern tip of the island in 1804, Page managed the Hampton plantation and Butler's Island. Upon Page's death in 1827, Thomas Butler King inherited the land together with his wife, Page's daughter, Anna Matilda Page King. King expanded his father-in-law's planting empire on St. Simons as well as on the mainland, and by 1835 Retreat Plantation alone was home to as many as 355 slaves.
The center of life during the island's plantation era was Christ Church, Frederica. Organized in 1807 by a group of island planters, the Episcopal church is the second oldest in the Diocese of Georgia. Embargoes imposed by the War of 1812 (1812-15) prevented the parishioners from building a church structure, so they worshiped in the home of John Beck, which stood on the site of Oglethorpe's only St. Simons residence, Orange Hall.
The first Christ Church building, finished on the present site in 1820, was ruined by occupying Union troops during the Civil War. In 1884 the Reverend Anson Dodge Jr. rebuilt the church as a memorial to his first wife, Ellen. The cruciform building with a trussed gothic roof and stained-glass windows remains active today as Christ Church.
Civil War and Beyond
The
St. Simons Island Lighthouse
outbreak of the Civil War in 1861 put a sudden end to St. Simons's lucrative plantation era. In January of that year, Confederate troops were stationed at the south end of the island to guard the entrance to Brunswick Harbor. Slaves from Retreat Plantation, owned by Thomas Butler King, built earthworks and batteries. Plantation residents were scattered—the men joined the Confederate army and their families moved to the mainland. Cannon fire was heard on the island in December 1861, and Confederate troops retreated in February 1862, after dynamiting the lighthouse to keep its beacon from aiding Union troops. Soon thereafter, Union troops occupied the island, which was used as a camp for freed slaves. By August 1862 more than 500 former slaves lived on St. Simons, including Susie King Taylor, who organized a school for freed slave children. But in November the ex-slaves were taken to Hilton Head, South Carolina, and Fernandina, Florida, leaving the island abandoned.
After the Civil War the island never returned to its status as an agricultural community. The plantations lay dormant because there were no slaves to work the fields. After Union general William T. Sherman's January 1865 Special Field Order No. 15 —a demand that former plantations be divided and distributed to former slaves—was overturned by U.S. president Andrew Johnson less than a year later, freedmen and women were forced to work as sharecroppers on the small farms that dotted the land previously occupied by the sprawling plantations.
By
St. Simons Lumber Mills
1870 real economic recovery began with the reestablishment of the timber industry. Norman Dodge and Titus G. Meigs of New York set up lumber mill operations at Gascoigne Bluff, formerly Hamilton Plantation. The lumber mills provided welcome employment for both blacks and whites and also provided mail and passenger boats to the mainland. Such water traffic, together with the construction of a new lighthouse in 1872, designed by architect Charles B. Cluskey, marked the beginning of St. Simons's tourism industry. The keeper of the lighthouse created a small amusement park, which drew many visitors, as did the seemingly miraculous light that traveled from the top of the lighthouse tower to the bottom. The island became a summer retreat for families from the mainland, particularly from Baxley, Brunswick, and Waycross.
The island's resort industry was thriving by the 1880s. Beachfront structures, such as a new pier and grand hotel, were built on the southeastern end of the island and could be accessed by ferry. Around this time wealthy northerners began vacationing on the island.
Twentieth Century
The
St. Simons Island Pier and Village
opening in 1924 of the Brunswick–St. Simons Highway, today known as the Torras Causeway, was a milestone in the development of resorts in the area. St. Simons's beaches were now easily accessible to locals and tourists alike. More than 5,000 automobiles took the short drive from Brunswick to St. Simons via the causeway on its opening day, paving the way for convenient residential and resort development.
In 1926 automotive pioneer Howard Coffin of Detroit, Michigan, bought large tracts of land on St. Simons, including the former Retreat Plantation, and constructed a golf course, yacht club, paved roads, and a residential subdivision. Although the causeway had brought large numbers of summer people to the island, St. Simons remained a small community with only a few hundred permanent residents until the 1940s.
The
St. Simons Island
outbreak of World War II (1941-45) brought more visitors and residents to St. Simons. Troops stationed at Jacksonville, Florida; Savannah; and nearby Camp Stewart took weekend vacations on the island, and a new naval air base and radar school became home to even more officers and soldiers. The increased wartime population brought the island its first public school. With a major shipyard for the production of Liberty ships in nearby Brunswick, the waters of St. Simons became active with German U-boats. In April 1942, just off the coast, the Texas Company oil tanker S. S. Oklahoma and the S. S. Esso Baton Rouge were torpedoed by the Germans, bringing the war very close to home for island residents.
Due in large part to the military's improvement of the island's infrastructure during the war, development on the island boomed in the 1950s and 1960s. More permanent homes and subdivisions were built, and the island was no longer just a summer resort but also a thriving community. In 1950 the Methodist conference and retreat center Epworth by the Sea opened on Gascoigne Bluff. In 1961 novelist Eugenia Price visited St. Simons and began work on her first works of fiction, known as the St. Simons Trilogy. Inspired by real events on the island, Price's trilogy renewed interest in the history of Georgia's coast, and the novelist herself relocated to the island in 1965 and lived there for thirty-one years. St. Simons is also home to contemporary Georgia writer Tina McElroy Ansa.
Since
Epworth by the Sea
1980 St. Simons's population has doubled. The island's continued status as a vacation destination and its ongoing development boom have put historic landmarks and natural areas at risk. While such landmarks as the Fort Frederica ruins and the Battle of Bloody Marsh site are preserved and maintained by the National Park Service, and while the historic lighthouse is maintained by the Coastal Georgia Historical Society, historic Ebos Landing has been taken over by a sewage treatment plant.
Several coastal organizations have formed in recent years to save natural areas on the island. The St. Simons Land Trust, for example, has received donations of large tracts of land and plans to protect property in the island's three traditional African American neighborhoods. Despite its rapid growth and development, St. Simons remains one of the most beautiful and important islands on the Georgia coast.

A sculptural statement in its own right, this concrete-and-glass “Gallery House” was designed to showcase the owners’ art collection as well as the natural landscape. The architecture is truly one with its site: To the east, a sheltering wall echoes the curve of a crowded cul-de-sac, while to the west, the design follows the sweeping contours of the cliff—ensuring privacy while maximizing views. The architectural details demanded flawless construction: Windows and doors stretch floor-to-ceiling, and minimalist reveals define the walls, which “float” between perfect shadow lines in the long T-shape foyer. Ideal for entertaining, the layout fosters seamless indoor-outdoor living. Amenities include four pocketing glass walls, a lanai with heated floor, and a partially cantilevered multi-level terrace. The front courtyard sequesters a frameless glass entry. From here, sight lines stretch through the house to an infinity pool that hovers between sky and sea.

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C.H. Burnham Inc., in partnership with Ciaran Rafferty Construction, completed this four car garage in Pacific Heights in early April, 2010. From precision excavation and shotcrete construction to the installation of marble slabs and plaster cast egg and dart trim, this project demanded expertise in every aspect of construction. Completed in both a timely matter and on budget, you will see in the following photos, our crews, with the assistance of Mulholland Electric, West Cork Welding, Hughes Plastering, Fong’s Plumbing & Fire Protection, and VBE Inc., efficiently executed a complex project.
pacific-heights-san-francisco-remodel-1
Before we could begin excavation for the garage, we needed to dig three 20′ deep underpinnings by hand beneath the 1906 home’s existing foundation. After we had successfully supported the home and installed the temporary shoring, we brought in expert excavator Billy Vaughn, owner of VBE Inc. Considering we were building up to both the western and eastern property lines, we excavated, formed and erected the walls in stages so as to not place the neighboring structures or the workmen in any unnecessary danger. After the walls and spread footers were complete, we poured a 10″ thick slab roof. While the roof slab cured, we installed the tapered sleeper joists for the deck. We then removed the supports for the roof slab and poured the slab floor.
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C.H. Burnham Inc., in partnership with Ciaran Rafferty Construction, completed this four car garage in Pacific Heights in early April, 2010. From precision excavation and shotcrete construction to the installation of marble slabs and plaster cast egg and dart trim, this project demanded expertise in every aspect of construction. Completed in both a timely matter and on budget, you will see in the following photos, our crews, with the assistance of Mulholland Electric, West Cork Welding, Hughes Plastering, Fong’s Plumbing & Fire Protection, and VBE Inc., efficiently executed a complex project.
pacific-heights-san-francisco-remodel-1
Before we could begin excavation for the garage, we needed to dig three 20′ deep underpinnings by hand beneath the 1906 home’s existing foundation. After we had successfully supported the home and installed the temporary shoring, we brought in expert excavator Billy Vaughn, owner of VBE Inc. Considering we were building up to both the western and eastern property lines, we excavated, formed and erected the walls in stages so as to not place the neighboring structures or the workmen in any unnecessary danger. After the walls and spread footers were complete, we poured a 10″ thick slab roof. While the roof slab cured, we installed the tapered sleeper joists for the deck. We then removed the supports for the roof slab and poured the slab floor.
pacific-heights-san-francisco-remodel-7
Once we completed the concrete phases of construction, we moved onto the finish stages of the project. This included the installation of an ipe’ deck, a hand rail matching the existing railing on the third floor deck and six piece trim detail. After visiting several marble suppliers, we found a carrera marble that matched the existing steps (installed over 100 years ago) and polished/antiqued the materials accordingly. A few more elements, including a cement tiled entryway and a custom garage door, completed the integration of the new structure with the existing home. After cleaning the property and touching things up, we received the certificate of occupancy.
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Snowberry Lane Photography
Example of a large trendy master porcelain tile, beige tile and blue tile porcelain tile and gray floor bathroom design in Seattle with flat-panel cabinets, black cabinets, gray walls, an undermount sink, quartz countertops and white countertops
Example of a large trendy master porcelain tile, beige tile and blue tile porcelain tile and gray floor bathroom design in Seattle with flat-panel cabinets, black cabinets, gray walls, an undermount sink, quartz countertops and white countertops

A sculptural statement in its own right, this concrete-and-glass “Gallery House” was designed to showcase the owners’ art collection as well as the natural landscape. The architecture is truly one with its site: To the east, a sheltering wall echoes the curve of a crowded cul-de-sac, while to the west, the design follows the sweeping contours of the cliff—ensuring privacy while maximizing views. The architectural details demanded flawless construction: Windows and doors stretch floor-to-ceiling, and minimalist reveals define the walls, which “float” between perfect shadow lines in the long T-shape foyer. Ideal for entertaining, the layout fosters seamless indoor-outdoor living. Amenities include four pocketing glass walls, a lanai with heated floor, and a partially cantilevered multi-level terrace. The front courtyard sequesters a frameless glass entry. From here, sight lines stretch through the house to an infinity pool that hovers between sky and sea.

Casabrava - Entry Courtyard. All photos courtesy of Brady Architectural Photography
Example of a trendy exterior home design in San Diego
Example of a trendy exterior home design in San Diego

A sculptural statement in its own right, this concrete-and-glass “Gallery House” was designed to showcase the owners’ art collection as well as the natural landscape. The architecture is truly one with its site: To the east, a sheltering wall echoes the curve of a crowded cul-de-sac, while to the west, the design follows the sweeping contours of the cliff—ensuring privacy while maximizing views. The architectural details demanded flawless construction: Windows and doors stretch floor-to-ceiling, and minimalist reveals define the walls, which “float” between perfect shadow lines in the long T-shape foyer. Ideal for entertaining, the layout fosters seamless indoor-outdoor living. Amenities include four pocketing glass walls, a lanai with heated floor, and a partially cantilevered multi-level terrace. The front courtyard sequesters a frameless glass entry. From here, sight lines stretch through the house to an infinity pool that hovers between sky and sea.

Sponsored
Sunbury, OH
J.Holderby - Renovations
Franklin County's Leading General Contractors - 2X Best of Houzz!

A sculptural statement in its own right, this concrete-and-glass “Gallery House” was designed to showcase the owners’ art collection as well as the natural landscape. The architecture is truly one with its site: To the east, a sheltering wall echoes the curve of a crowded cul-de-sac, while to the west, the design follows the sweeping contours of the cliff—ensuring privacy while maximizing views. The architectural details demanded flawless construction: Windows and doors stretch floor-to-ceiling, and minimalist reveals define the walls, which “float” between perfect shadow lines in the long T-shape foyer. Ideal for entertaining, the layout fosters seamless indoor-outdoor living. Amenities include four pocketing glass walls, a lanai with heated floor, and a partially cantilevered multi-level terrace. The front courtyard sequesters a frameless glass entry. From here, sight lines stretch through the house to an infinity pool that hovers between sky and sea.

A sculptural statement in its own right, this concrete-and-glass “Gallery House” was designed to showcase the owners’ art collection as well as the natural landscape. The architecture is truly one with its site: To the east, a sheltering wall echoes the curve of a crowded cul-de-sac, while to the west, the design follows the sweeping contours of the cliff—ensuring privacy while maximizing views. The architectural details demanded flawless construction: Windows and doors stretch floor-to-ceiling, and minimalist reveals define the walls, which “float” between perfect shadow lines in the long T-shape foyer. Ideal for entertaining, the layout fosters seamless indoor-outdoor living. Amenities include four pocketing glass walls, a lanai with heated floor, and a partially cantilevered multi-level terrace. The front courtyard sequesters a frameless glass entry. From here, sight lines stretch through the house to an infinity pool that hovers between sky and sea.

A sculptural statement in its own right, this concrete-and-glass “Gallery House” was designed to showcase the owners’ art collection as well as the natural landscape. The architecture is truly one with its site: To the east, a sheltering wall echoes the curve of a crowded cul-de-sac, while to the west, the design follows the sweeping contours of the cliff—ensuring privacy while maximizing views. The architectural details demanded flawless construction: Windows and doors stretch floor-to-ceiling, and minimalist reveals define the walls, which “float” between perfect shadow lines in the long T-shape foyer. Ideal for entertaining, the layout fosters seamless indoor-outdoor living. Amenities include four pocketing glass walls, a lanai with heated floor, and a partially cantilevered multi-level terrace. The front courtyard sequesters a frameless glass entry. From here, sight lines stretch through the house to an infinity pool that hovers between sky and sea.

Perched above the beautiful Delaware River in the historic village of New Hope, Bucks County, Pennsylvania sits this magnificent custom home designed by OMNIA Group Architects. According to Partner, Brian Mann,"This riverside property required a nuanced approach so that it could at once be both a part of this eclectic village streetscape and take advantage of the spectacular waterfront setting." Further complicating the study, the lot was narrow, it resides in the floodplain and the program required the Master Suite to be on the main level. To meet these demands, OMNIA dispensed with conventional historicist styles and created an open plan blended with traditional forms punctuated by vast rows of glass windows and doors to bring in the panoramic views of Lambertville, the bridge, the wooded opposite bank and the river. Mann adds, "Because I too live along the river, I have a special respect for its ever changing beauty - and I appreciate that riverfront structures have a responsibility to enhance the views from those on the water." Hence the riverside facade is as beautiful as the street facade. A sweeping front porch integrates the entry with the vibrant pedestrian streetscape. Low garden walls enclose a beautifully landscaped courtyard defining private space without turning its back on the street. Once inside, the natural setting explodes into view across the back of each of the main living spaces. For a home with so few walls, spaces feel surprisingly intimate and well defined. The foyer is elegant and features a free flowing curved stair that rises in a turret like enclosure dotted with windows that follow the ascending stairs like a sculpture. "Using changes in ceiling height, finish materials and lighting, we were able to define spaces without boxing spaces in" says Mann adding, "the dynamic horizontality of the river is echoed along the axis of the living space; the natural movement from kitchen to dining to living rooms following the current of the river." Service elements are concentrated along the front to create a visual and noise barrier from the street and buttress a calm hall that leads to the Master Suite. The master bedroom shares the views of the river, while the bath and closet program are set up for pure luxuriating. The second floor features a common loft area with a large balcony overlooking the water. Two children's suites flank the loft - each with their own exquisitely crafted baths and closets. Continuing the balance between street and river, an open air bell-tower sits above the entry porch to bring life and light to the street. Outdoor living was part of the program from the start. A covered porch with outdoor kitchen and dining and lounge area and a fireplace brings 3-season living to the river. And a lovely curved patio lounge surrounded by grand landscaping by LDG finishes the experience. OMNIA was able to bring their design talents to the finish materials too including cabinetry, lighting, fixtures, colors and furniture.

Perched above the beautiful Delaware River in the historic village of New Hope, Bucks County, Pennsylvania sits this magnificent custom home designed by OMNIA Group Architects. According to Partner, Brian Mann,"This riverside property required a nuanced approach so that it could at once be both a part of this eclectic village streetscape and take advantage of the spectacular waterfront setting." Further complicating the study, the lot was narrow, it resides in the floodplain and the program required the Master Suite to be on the main level. To meet these demands, OMNIA dispensed with conventional historicist styles and created an open plan blended with traditional forms punctuated by vast rows of glass windows and doors to bring in the panoramic views of Lambertville, the bridge, the wooded opposite bank and the river. Mann adds, "Because I too live along the river, I have a special respect for its ever changing beauty - and I appreciate that riverfront structures have a responsibility to enhance the views from those on the water." Hence the riverside facade is as beautiful as the street facade. A sweeping front porch integrates the entry with the vibrant pedestrian streetscape. Low garden walls enclose a beautifully landscaped courtyard defining private space without turning its back on the street. Once inside, the natural setting explodes into view across the back of each of the main living spaces. For a home with so few walls, spaces feel surprisingly intimate and well defined. The foyer is elegant and features a free flowing curved stair that rises in a turret like enclosure dotted with windows that follow the ascending stairs like a sculpture. "Using changes in ceiling height, finish materials and lighting, we were able to define spaces without boxing spaces in" says Mann adding, "the dynamic horizontality of the river is echoed along the axis of the living space; the natural movement from kitchen to dining to living rooms following the current of the river." Service elements are concentrated along the front to create a visual and noise barrier from the street and buttress a calm hall that leads to the Master Suite. The master bedroom shares the views of the river, while the bath and closet program are set up for pure luxuriating. The second floor features a common loft area with a large balcony overlooking the water. Two children's suites flank the loft - each with their own exquisitely crafted baths and closets. Continuing the balance between street and river, an open air bell-tower sits above the entry porch to bring life and light to the street. Outdoor living was part of the program from the start. A covered porch with outdoor kitchen and dining and lounge area and a fireplace brings 3-season living to the river. And a lovely curved patio lounge surrounded by grand landscaping by LDG finishes the experience. OMNIA was able to bring their design talents to the finish materials too including cabinetry, lighting, fixtures, colors and furniture.

Perched above the beautiful Delaware River in the historic village of New Hope, Bucks County, Pennsylvania sits this magnificent custom home designed by OMNIA Group Architects. According to Partner, Brian Mann,"This riverside property required a nuanced approach so that it could at once be both a part of this eclectic village streetscape and take advantage of the spectacular waterfront setting." Further complicating the study, the lot was narrow, it resides in the floodplain and the program required the Master Suite to be on the main level. To meet these demands, OMNIA dispensed with conventional historicist styles and created an open plan blended with traditional forms punctuated by vast rows of glass windows and doors to bring in the panoramic views of Lambertville, the bridge, the wooded opposite bank and the river. Mann adds, "Because I too live along the river, I have a special respect for its ever changing beauty - and I appreciate that riverfront structures have a responsibility to enhance the views from those on the water." Hence the riverside facade is as beautiful as the street facade. A sweeping front porch integrates the entry with the vibrant pedestrian streetscape. Low garden walls enclose a beautifully landscaped courtyard defining private space without turning its back on the street. Once inside, the natural setting explodes into view across the back of each of the main living spaces. For a home with so few walls, spaces feel surprisingly intimate and well defined. The foyer is elegant and features a free flowing curved stair that rises in a turret like enclosure dotted with windows that follow the ascending stairs like a sculpture. "Using changes in ceiling height, finish materials and lighting, we were able to define spaces without boxing spaces in" says Mann adding, "the dynamic horizontality of the river is echoed along the axis of the living space; the natural movement from kitchen to dining to living rooms following the current of the river." Service elements are concentrated along the front to create a visual and noise barrier from the street and buttress a calm hall that leads to the Master Suite. The master bedroom shares the views of the river, while the bath and closet program are set up for pure luxuriating. The second floor features a common loft area with a large balcony overlooking the water. Two children's suites flank the loft - each with their own exquisitely crafted baths and closets. Continuing the balance between street and river, an open air bell-tower sits above the entry porch to bring life and light to the street. Outdoor living was part of the program from the start. A covered porch with outdoor kitchen and dining and lounge area and a fireplace brings 3-season living to the river. And a lovely curved patio lounge surrounded by grand landscaping by LDG finishes the experience. OMNIA was able to bring their design talents to the finish materials too including cabinetry, lighting, fixtures, colors and furniture.

Sponsored
Sunbury, OH
J.Holderby - Renovations
Franklin County's Leading General Contractors - 2X Best of Houzz!

A sculptural statement in its own right, this concrete-and-glass “Gallery House” was designed to showcase the owners’ art collection as well as the natural landscape. The architecture is truly one with its site: To the east, a sheltering wall echoes the curve of a crowded cul-de-sac, while to the west, the design follows the sweeping contours of the cliff—ensuring privacy while maximizing views. The architectural details demanded flawless construction: Windows and doors stretch floor-to-ceiling, and minimalist reveals define the walls, which “float” between perfect shadow lines in the long T-shape foyer. Ideal for entertaining, the layout fosters seamless indoor-outdoor living. Amenities include four pocketing glass walls, a lanai with heated floor, and a partially cantilevered multi-level terrace. The front courtyard sequesters a frameless glass entry. From here, sight lines stretch through the house to an infinity pool that hovers between sky and sea.

Perched above the beautiful Delaware River in the historic village of New Hope, Bucks County, Pennsylvania sits this magnificent custom home designed by OMNIA Group Architects. According to Partner, Brian Mann,"This riverside property required a nuanced approach so that it could at once be both a part of this eclectic village streetscape and take advantage of the spectacular waterfront setting." Further complicating the study, the lot was narrow, it resides in the floodplain and the program required the Master Suite to be on the main level. To meet these demands, OMNIA dispensed with conventional historicist styles and created an open plan blended with traditional forms punctuated by vast rows of glass windows and doors to bring in the panoramic views of Lambertville, the bridge, the wooded opposite bank and the river. Mann adds, "Because I too live along the river, I have a special respect for its ever changing beauty - and I appreciate that riverfront structures have a responsibility to enhance the views from those on the water." Hence the riverside facade is as beautiful as the street facade. A sweeping front porch integrates the entry with the vibrant pedestrian streetscape. Low garden walls enclose a beautifully landscaped courtyard defining private space without turning its back on the street. Once inside, the natural setting explodes into view across the back of each of the main living spaces. For a home with so few walls, spaces feel surprisingly intimate and well defined. The foyer is elegant and features a free flowing curved stair that rises in a turret like enclosure dotted with windows that follow the ascending stairs like a sculpture. "Using changes in ceiling height, finish materials and lighting, we were able to define spaces without boxing spaces in" says Mann adding, "the dynamic horizontality of the river is echoed along the axis of the living space; the natural movement from kitchen to dining to living rooms following the current of the river." Service elements are concentrated along the front to create a visual and noise barrier from the street and buttress a calm hall that leads to the Master Suite. The master bedroom shares the views of the river, while the bath and closet program are set up for pure luxuriating. The second floor features a common loft area with a large balcony overlooking the water. Two children's suites flank the loft - each with their own exquisitely crafted baths and closets. Continuing the balance between street and river, an open air bell-tower sits above the entry porch to bring life and light to the street. Outdoor living was part of the program from the start. A covered porch with outdoor kitchen and dining and lounge area and a fireplace brings 3-season living to the river. And a lovely curved patio lounge surrounded by grand landscaping by LDG finishes the experience. OMNIA was able to bring their design talents to the finish materials too including cabinetry, lighting, fixtures, colors and furniture.

A sculptural statement in its own right, this concrete-and-glass “Gallery House” was designed to showcase the owners’ art collection as well as the natural landscape. The architecture is truly one with its site: To the east, a sheltering wall echoes the curve of a crowded cul-de-sac, while to the west, the design follows the sweeping contours of the cliff—ensuring privacy while maximizing views. The architectural details demanded flawless construction: Windows and doors stretch floor-to-ceiling, and minimalist reveals define the walls, which “float” between perfect shadow lines in the long T-shape foyer. Ideal for entertaining, the layout fosters seamless indoor-outdoor living. Amenities include four pocketing glass walls, a lanai with heated floor, and a partially cantilevered multi-level terrace. The front courtyard sequesters a frameless glass entry. From here, sight lines stretch through the house to an infinity pool that hovers between sky and sea.

Perched above the beautiful Delaware River in the historic village of New Hope, Bucks County, Pennsylvania sits this magnificent custom home designed by OMNIA Group Architects. According to Partner, Brian Mann,"This riverside property required a nuanced approach so that it could at once be both a part of this eclectic village streetscape and take advantage of the spectacular waterfront setting." Further complicating the study, the lot was narrow, it resides in the floodplain and the program required the Master Suite to be on the main level. To meet these demands, OMNIA dispensed with conventional historicist styles and created an open plan blended with traditional forms punctuated by vast rows of glass windows and doors to bring in the panoramic views of Lambertville, the bridge, the wooded opposite bank and the river. Mann adds, "Because I too live along the river, I have a special respect for its ever changing beauty - and I appreciate that riverfront structures have a responsibility to enhance the views from those on the water." Hence the riverside facade is as beautiful as the street facade. A sweeping front porch integrates the entry with the vibrant pedestrian streetscape. Low garden walls enclose a beautifully landscaped courtyard defining private space without turning its back on the street. Once inside, the natural setting explodes into view across the back of each of the main living spaces. For a home with so few walls, spaces feel surprisingly intimate and well defined. The foyer is elegant and features a free flowing curved stair that rises in a turret like enclosure dotted with windows that follow the ascending stairs like a sculpture. "Using changes in ceiling height, finish materials and lighting, we were able to define spaces without boxing spaces in" says Mann adding, "the dynamic horizontality of the river is echoed along the axis of the living space; the natural movement from kitchen to dining to living rooms following the current of the river." Service elements are concentrated along the front to create a visual and noise barrier from the street and buttress a calm hall that leads to the Master Suite. The master bedroom shares the views of the river, while the bath and closet program are set up for pure luxuriating. The second floor features a common loft area with a large balcony overlooking the water. Two children's suites flank the loft - each with their own exquisitely crafted baths and closets. Continuing the balance between street and river, an open air bell-tower sits above the entry porch to bring life and light to the street. Outdoor living was part of the program from the start. A covered porch with outdoor kitchen and dining and lounge area and a fireplace brings 3-season living to the river. And a lovely curved patio lounge surrounded by grand landscaping by LDG finishes the experience. OMNIA was able to bring their design talents to the finish materials too including cabinetry, lighting, fixtures, colors and furniture

Stuart Wade, Envision Virtual Tours
The second-largest and most developed of Georgia's barrier islands, St. Simons is approximately twelve miles long and nearly three miles wide at its widest stretch (roughly the size of Manhattan Island in New York). The island is located in Glynn County on Georgia's coast and lies east of Brunswick (the seat of Glynn County), south of Little St. Simons Island and the Hampton River, and north of Jekyll Island. The resort community of Sea Island is separated from St. Simons on the east by the Black Banks River. Known for its oak tree canopies and historic landmarks, St. Simons is both a tourist destination and, according to the 2010 U.S. census, home to 12,743 residents.
Early History
The earliest
St. Simons Island Village
record of human habitation on the island dates to the Late Archaic Period, about 5,000 to 3,000 years ago. Remnants of shell rings left behind by Native Americans from this era survive on many of the barrier islands, including St. Simons. Centuries later, during the period known by historians as the chiefdom era, the Guale Indians established a chiefdom centered on St. Catherines Island and used St. Simons as their hunting and fishing grounds. By 1500 the Guale had established a permanent village of about 200 people on St. Simons, which they called Guadalquini.
Beginning in 1568, the Spanish attempted to create missions along the Georgia coast. Catholic missions were the primary means by which Georgia's indigenous Native American chiefdoms were assimilated into the Spanish colonial system along the northern frontier of greater Spanish Florida. In the 1600s St. Simons became home to two Spanish missions: San Buenaventura de Guadalquini, on the southern tip of the island, and Santo Domingo de Asao (or Asajo), on the northern tip. Located on the inland side of the island were the pagan refugee villages of San Simón, the island's namesake, and Ocotonico. In 1684 pirate raids left the missions and villages largely abandoned.
Colonial History
As
Fort Frederica
early as 1670, with Great Britain's establishment of the colony of Carolina and its expansion into Georgia territory, Spanish rule was threatened by the English. The Georgia coast was considered "debatable land" by England and Spain, even though Spain had fully retreated from St. Simons by 1702. Thirty-one years later General James Edward Oglethorpe founded the English settlement of Savannah. In 1736 he established Fort Frederica, named after the heir to the British throne, Frederick Louis, prince of Wales, on the west side of St. Simons Island to protect Savannah and the Carolinas from the Spanish threat.
Between 1736 and 1749 Fort Frederica was the hub of British military operations along the Georgia frontier. A town of the same name grew up around the fort and was of great importance to the new colony. By 1740 Frederica's population was 1,000. In 1736 the congregation of what would become Christ Church was organized within Fort Frederica as a mission of the Church of England. Charles Wesley led the first services. In 1742 Britain's decisive victory over Spain in the Battle of Bloody Marsh, during the War of Jenkins' Ear, ended the Spanish threat to the Georgia coast. When the British regimen disbanded in 1749, most of the townspeople relocated to the mainland. Fort Frederica went into decline and, except for a short time of prosperity during the 1760s and 1770s under the leadership of merchant James Spalding, never fully recovered. Today the historic citadel's tabby ruins are maintained by the National Park Service.
Plantation Era
By the start of the American Revolution (1775-83), Fort Frederica was obsolete, and St. Simons was left largely uninhabited as most of its residents joined the patriot army. Besides hosting a small Georgia naval victory on the Fort Frederica River, providing guns from its famous fort for use at Fort Morris in Sunbury, and serving as an arena for pillaging by privateers and British soldiers, the island played almost no role in the war.
Following the war, many of the townspeople, their businesses destroyed, turned to agriculture. The island was transformed into fourteen cotton plantations after acres of live oak trees were cleared for farm land and used for building American warships, including the famous USS Constitution, or "Old Ironsides." Although rice was the predominant crop along the neighboring Altamaha River, St. Simons was known for its production of long-staple cotton, which soon came to be known as Sea Island cotton.
Between
Ebos Landing
the 1780s and the outbreak of the Civil War (1861-65), St. Simons's plantation culture flourished. The saline atmosphere and the availability of cheap slave labor proved an ideal combination for the cultivation of Sea Island cotton. In 1803 a group of Ebo slaves who survived the Middle Passage and arrived on the west side of St. Simons staged a rebellion and drowned themselves. The sacred site is known today as Ebos Landing.
One of the largest owners of land and slaves on St. Simons was Pierce Butler, master of Hampton Point Plantation, located on the northern end of the island. By 1793 Butler owned more than 500 slaves, who cultivated 800 acres of cotton on St. Simons and 300 acres of rice on Butler's Island in the Altamaha River delta. Butler's grandson, Pierce Mease Butler, who at the age of sixteen inherited a share of his grandfather's estate in 1826, was responsible for the largest sale of human beings in the history of the United States: in 1859, to restore his squandered fortune, he sold 429 slaves in Savannah for more than $300,000. The British actress and writer Fanny Kemble, whose tumultuous marriage to Pierce ended in divorce in 1849, published an eyewitness account of the evils of slavery on St. Simons in her book Journal of a Residence on a Georgian Plantation in 1838-1839 (1863).
Another
Retreat Plantation
large owner of land and slaves on St. Simons was Major William Page, a friend and employee of Pierce Butler Sr. Before purchasing Retreat Plantation on the southwestern tip of the island in 1804, Page managed the Hampton plantation and Butler's Island. Upon Page's death in 1827, Thomas Butler King inherited the land together with his wife, Page's daughter, Anna Matilda Page King. King expanded his father-in-law's planting empire on St. Simons as well as on the mainland, and by 1835 Retreat Plantation alone was home to as many as 355 slaves.
The center of life during the island's plantation era was Christ Church, Frederica. Organized in 1807 by a group of island planters, the Episcopal church is the second oldest in the Diocese of Georgia. Embargoes imposed by the War of 1812 (1812-15) prevented the parishioners from building a church structure, so they worshiped in the home of John Beck, which stood on the site of Oglethorpe's only St. Simons residence, Orange Hall.
The first Christ Church building, finished on the present site in 1820, was ruined by occupying Union troops during the Civil War. In 1884 the Reverend Anson Dodge Jr. rebuilt the church as a memorial to his first wife, Ellen. The cruciform building with a trussed gothic roof and stained-glass windows remains active today as Christ Church.
Civil War and Beyond
The
St. Simons Island Lighthouse
outbreak of the Civil War in 1861 put a sudden end to St. Simons's lucrative plantation era. In January of that year, Confederate troops were stationed at the south end of the island to guard the entrance to Brunswick Harbor. Slaves from Retreat Plantation, owned by Thomas Butler King, built earthworks and batteries. Plantation residents were scattered—the men joined the Confederate army and their families moved to the mainland. Cannon fire was heard on the island in December 1861, and Confederate troops retreated in February 1862, after dynamiting the lighthouse to keep its beacon from aiding Union troops. Soon thereafter, Union troops occupied the island, which was used as a camp for freed slaves. By August 1862 more than 500 former slaves lived on St. Simons, including Susie King Taylor, who organized a school for freed slave children. But in November the ex-slaves were taken to Hilton Head, South Carolina, and Fernandina, Florida, leaving the island abandoned.
After the Civil War the island never returned to its status as an agricultural community. The plantations lay dormant because there were no slaves to work the fields. After Union general William T. Sherman's January 1865 Special Field Order No. 15 —a demand that former plantations be divided and distributed to former slaves—was overturned by U.S. president Andrew Johnson less than a year later, freedmen and women were forced to work as sharecroppers on the small farms that dotted the land previously occupied by the sprawling plantations.
By
St. Simons Lumber Mills
1870 real economic recovery began with the reestablishment of the timber industry. Norman Dodge and Titus G. Meigs of New York set up lumber mill operations at Gascoigne Bluff, formerly Hamilton Plantation. The lumber mills provided welcome employment for both blacks and whites and also provided mail and passenger boats to the mainland. Such water traffic, together with the construction of a new lighthouse in 1872, designed by architect Charles B. Cluskey, marked the beginning of St. Simons's tourism industry. The keeper of the lighthouse created a small amusement park, which drew many visitors, as did the seemingly miraculous light that traveled from the top of the lighthouse tower to the bottom. The island became a summer retreat for families from the mainland, particularly from Baxley, Brunswick, and Waycross.
The island's resort industry was thriving by the 1880s. Beachfront structures, such as a new pier and grand hotel, were built on the southeastern end of the island and could be accessed by ferry. Around this time wealthy northerners began vacationing on the island.
Twentieth Century
The
St. Simons Island Pier and Village
opening in 1924 of the Brunswick–St. Simons Highway, today known as the Torras Causeway, was a milestone in the development of resorts in the area. St. Simons's beaches were now easily accessible to locals and tourists alike. More than 5,000 automobiles took the short drive from Brunswick to St. Simons via the causeway on its opening day, paving the way for convenient residential and resort development.
In 1926 automotive pioneer Howard Coffin of Detroit, Michigan, bought large tracts of land on St. Simons, including the former Retreat Plantation, and constructed a golf course, yacht club, paved roads, and a residential subdivision. Although the causeway had brought large numbers of summer people to the island, St. Simons remained a small community with only a few hundred permanent residents until the 1940s.
The
St. Simons Island
outbreak of World War II (1941-45) brought more visitors and residents to St. Simons. Troops stationed at Jacksonville, Florida; Savannah; and nearby Camp Stewart took weekend vacations on the island, and a new naval air base and radar school became home to even more officers and soldiers. The increased wartime population brought the island its first public school. With a major shipyard for the production of Liberty ships in nearby Brunswick, the waters of St. Simons became active with German U-boats. In April 1942, just off the coast, the Texas Company oil tanker S. S. Oklahoma and the S. S. Esso Baton Rouge were torpedoed by the Germans, bringing the war very close to home for island residents.
Due in large part to the military's improvement of the island's infrastructure during the war, development on the island boomed in the 1950s and 1960s. More permanent homes and subdivisions were built, and the island was no longer just a summer resort but also a thriving community. In 1950 the Methodist conference and retreat center Epworth by the Sea opened on Gascoigne Bluff. In 1961 novelist Eugenia Price visited St. Simons and began work on her first works of fiction, known as the St. Simons Trilogy. Inspired by real events on the island, Price's trilogy renewed interest in the history of Georgia's coast, and the novelist herself relocated to the island in 1965 and lived there for thirty-one years. St. Simons is also home to contemporary Georgia writer Tina McElroy Ansa.
Since
Epworth by the Sea
1980 St. Simons's population has doubled. The island's continued status as a vacation destination and its ongoing development boom have put historic landmarks and natural areas at risk. While such landmarks as the Fort Frederica ruins and the Battle of Bloody Marsh site are preserved and maintained by the National Park Service, and while the historic lighthouse is maintained by the Coastal Georgia Historical Society, historic Ebos Landing has been taken over by a sewage treatment plant.
Several coastal organizations have formed in recent years to save natural areas on the island. The St. Simons Land Trust, for example, has received donations of large tracts of land and plans to protect property in the island's three traditional African American neighborhoods. Despite its rapid growth and development, St. Simons remains one of the most beautiful and important islands on the Georgia coast.

Choosing between American framed cabinets and European frameless renditions often boils down to personal preference.
While the American framed counterpart emerges as an immensely popular choice, classic white European kitchen cabinets exhibit a timeless charm that one can't ignore.
It's pretty easy to distinguish a framed and a frameless cabinet as one pays close attention.
The American framed cabinets typically have wide gaps around the doors showing the face of the wood.
In comparison, the European frameless cabinets have much smaller gaps (less than a quarter-inch or more). Moreover, they also carry a matching edge band which is visible on the cabinet box, when its doors are left open.
Well, that's there with the basics and many more subtle differences that distinguish one kind from another.
In this post, we take a closer look at both frameless and framed cabinet styles, their merits and demerits, and help you make an informed decision to buy one.
The American Style Face Frames
As the name suggests, face frame cabinets dominate the structure of a cabinet and use comparatively thinner materials for the cabinet box.
One can find additional frame pieces (mullions) that rest right between the door and the face of the drawer.
One of the standout features of American framed cabinets is the doors that remain attached to the face frame and carry hinges concealed within. In such structures, the shelves are generally of half depth and can be hung side up or down according to one’s need.
Face frame cabinets are known to sport doors that are not classic or pure square in shape. Also, they use a trim mold for their finish which measures just about an inch, but wide enough to press on the wall contours. Thus, they are nailed right on the face of the cabinet as well as to the sides to even out the gaps following the installation.
In essence, this particular style of cabinetry is geared towards keeping things under budget and allows the makers to work persistently and create a specific line of products.
The European Frameless Style
Taking a different stance from American face frame cabinets, we have the European Frameless style that views the cabinet box as the main structure.
It goes to work with a thin edge connected to the cabinet box matching the exteriors. The material used for the cabinet box is also thicker and carries quite a bit of weight.
Also, instead of the face frame, the glides for the door and the drawers stay attached to the cabinet box itself. The white European kitchen cabinets also use concealed hinges, which is again chunkier compared to its American counterpart.
While such frameless cabinets can be easily ordered by referring to a catalog, most buyers opt for a custom made product.
Another glaring difference between the two cabinetry styles is how the European frameless renditions work with cabinet doors that are perfect squares, and all lines between the drawers and doors are straight, imparting consistency throughout.
Furthermore, the finishing detail instead of using trim molds are scribed and further cut to fit within the walls.
Delightful enough, one can have a European frameless cabinets customized to their liking, mood, and style. White European kitchen cabinets, unlike framed ones, can be made to look rustic, transitional, modern, or traditional, and could be even a blend of any two styles.
How Do You Know Which Is The Right Style For You?
As mentioned earlier, choosing a particular style of cabinetry is all dependent on your personal preference. However, there are a few merits and demerits to each style.
For instance, the white European kitchen cabinets are extremely high in demand and can offer a rich look and elegant feel to any space.
Even if you go for any other color other than the classic ones, it is the flexibility, the visually stunning appearance, and precise carpentry that goes in its favor.
Come-of-age cabinet makers have a wide range of white kitchen cabinets for sale to choose from. Cabinet DIY is one such professional and passionate cabinet maker that has helped many homeowners pick the right piece for their place. One can order from their website and get it shipped to their doorstep.
It's only evident why this carefully cut and sculpted cabinetry finds its place across leading home decor magazines and websites around the world.
The American face frame cabinets can seldom claim to match the elegance and timeless beauty of white European kitchen cabinets. Also, given the choice, European frameless cabinets have multiple doors and wide drawer banks offering adequate room for storage.
Most importantly, the hardware that goes into the making of a frameless cabinet has everything attached to the cabinet box which promises more longevity, compared to face frame renditions. While the former is more likely to stay the same over several years, the latter is prone to cracks appearing in places now and then, with slides and hinges fitted with screws.
Nevertheless, one of the standout reasons that might give American face frame cabinets an upper hand over European frameless cabinetry is budget.
American framed cabinets using much thinner finish material attributes to lower pricing. Also, given the fact that there isn't much room for exquisite designs, the budget is often an overpowering factor for many buyers.
Wrap up
For anyone who would like to order a cabinet that is aesthetically pleasing and promises endless customization and longevity will side with European frameless cabinets.
In doing so, it is quite probable that pricing won't be a hindrance as one wages the investment for the value the furniture adds to a living space. Something that American face framed cabinets can't seem to match up.
While the American framed counterpart emerges as an immensely popular choice, classic white European kitchen cabinets exhibit a timeless charm that one can't ignore.
It's pretty easy to distinguish a framed and a frameless cabinet as one pays close attention.
The American framed cabinets typically have wide gaps around the doors showing the face of the wood.
In comparison, the European frameless cabinets have much smaller gaps (less than a quarter-inch or more). Moreover, they also carry a matching edge band which is visible on the cabinet box, when its doors are left open.
Well, that's there with the basics and many more subtle differences that distinguish one kind from another.
In this post, we take a closer look at both frameless and framed cabinet styles, their merits and demerits, and help you make an informed decision to buy one.
The American Style Face Frames
As the name suggests, face frame cabinets dominate the structure of a cabinet and use comparatively thinner materials for the cabinet box.
One can find additional frame pieces (mullions) that rest right between the door and the face of the drawer.
One of the standout features of American framed cabinets is the doors that remain attached to the face frame and carry hinges concealed within. In such structures, the shelves are generally of half depth and can be hung side up or down according to one’s need.
Face frame cabinets are known to sport doors that are not classic or pure square in shape. Also, they use a trim mold for their finish which measures just about an inch, but wide enough to press on the wall contours. Thus, they are nailed right on the face of the cabinet as well as to the sides to even out the gaps following the installation.
In essence, this particular style of cabinetry is geared towards keeping things under budget and allows the makers to work persistently and create a specific line of products.
The European Frameless Style
Taking a different stance from American face frame cabinets, we have the European Frameless style that views the cabinet box as the main structure.
It goes to work with a thin edge connected to the cabinet box matching the exteriors. The material used for the cabinet box is also thicker and carries quite a bit of weight.
Also, instead of the face frame, the glides for the door and the drawers stay attached to the cabinet box itself. The white European kitchen cabinets also use concealed hinges, which is again chunkier compared to its American counterpart.
While such frameless cabinets can be easily ordered by referring to a catalog, most buyers opt for a custom made product.
Another glaring difference between the two cabinetry styles is how the European frameless renditions work with cabinet doors that are perfect squares, and all lines between the drawers and doors are straight, imparting consistency throughout.
Furthermore, the finishing detail instead of using trim molds are scribed and further cut to fit within the walls.
Delightful enough, one can have a European frameless cabinets customized to their liking, mood, and style. White European kitchen cabinets, unlike framed ones, can be made to look rustic, transitional, modern, or traditional, and could be even a blend of any two styles.
How Do You Know Which Is The Right Style For You?
As mentioned earlier, choosing a particular style of cabinetry is all dependent on your personal preference. However, there are a few merits and demerits to each style.
For instance, the white European kitchen cabinets are extremely high in demand and can offer a rich look and elegant feel to any space.
Even if you go for any other color other than the classic ones, it is the flexibility, the visually stunning appearance, and precise carpentry that goes in its favor.
Come-of-age cabinet makers have a wide range of white kitchen cabinets for sale to choose from. Cabinet DIY is one such professional and passionate cabinet maker that has helped many homeowners pick the right piece for their place. One can order from their website and get it shipped to their doorstep.
It's only evident why this carefully cut and sculpted cabinetry finds its place across leading home decor magazines and websites around the world.
The American face frame cabinets can seldom claim to match the elegance and timeless beauty of white European kitchen cabinets. Also, given the choice, European frameless cabinets have multiple doors and wide drawer banks offering adequate room for storage.
Most importantly, the hardware that goes into the making of a frameless cabinet has everything attached to the cabinet box which promises more longevity, compared to face frame renditions. While the former is more likely to stay the same over several years, the latter is prone to cracks appearing in places now and then, with slides and hinges fitted with screws.
Nevertheless, one of the standout reasons that might give American face frame cabinets an upper hand over European frameless cabinetry is budget.
American framed cabinets using much thinner finish material attributes to lower pricing. Also, given the fact that there isn't much room for exquisite designs, the budget is often an overpowering factor for many buyers.
Wrap up
For anyone who would like to order a cabinet that is aesthetically pleasing and promises endless customization and longevity will side with European frameless cabinets.
In doing so, it is quite probable that pricing won't be a hindrance as one wages the investment for the value the furniture adds to a living space. Something that American face framed cabinets can't seem to match up.

Perched above the beautiful Delaware River in the historic village of New Hope, Bucks County, Pennsylvania sits this magnificent custom home designed by OMNIA Group Architects. According to Partner, Brian Mann,"This riverside property required a nuanced approach so that it could at once be both a part of this eclectic village streetscape and take advantage of the spectacular waterfront setting." Further complicating the study, the lot was narrow, it resides in the floodplain and the program required the Master Suite to be on the main level. To meet these demands, OMNIA dispensed with conventional historicist styles and created an open plan blended with traditional forms punctuated by vast rows of glass windows and doors to bring in the panoramic views of Lambertville, the bridge, the wooded opposite bank and the river. Mann adds, "Because I too live along the river, I have a special respect for its ever changing beauty - and I appreciate that riverfront structures have a responsibility to enhance the views from those on the water." Hence the riverside facade is as beautiful as the street facade. A sweeping front porch integrates the entry with the vibrant pedestrian streetscape. Low garden walls enclose a beautifully landscaped courtyard defining private space without turning its back on the street. Once inside, the natural setting explodes into view across the back of each of the main living spaces. For a home with so few walls, spaces feel surprisingly intimate and well defined. The foyer is elegant and features a free flowing curved stair that rises in a turret like enclosure dotted with windows that follow the ascending stairs like a sculpture. "Using changes in ceiling height, finish materials and lighting, we were able to define spaces without boxing spaces in" says Mann adding, "the dynamic horizontality of the river is echoed along the axis of the living space; the natural movement from kitchen to dining to living rooms following the current of the river." Service elements are concentrated along the front to create a visual and noise barrier from the street and buttress a calm hall that leads to the Master Suite. The master bedroom shares the views of the river, while the bath and closet program are set up for pure luxuriating. The second floor features a common loft area with a large balcony overlooking the water. Two children's suites flank the loft - each with their own exquisitely crafted baths and closets. Continuing the balance between street and river, an open air bell-tower sits above the entry porch to bring life and light to the street. Outdoor living was part of the program from the start. A covered porch with outdoor kitchen and dining and lounge area and a fireplace brings 3-season living to the river. And a lovely curved patio lounge surrounded by grand landscaping by LDG finishes the experience. OMNIA was able to bring their design talents to the finish materials too including cabinetry, lighting, fixtures, colors and furniture
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