Set within a postcard backdrop, on a local farm, this beautiful single floor home was a delight to build. Its personality brings a sense of modern architecture, combined with natural materials, to achieve a well balanced modern design that fits within Vermont’s natural beauty. Our clients were downsizing from a much larger home, and wanted to invest in a smaller footprint, with a focus on efficiency and details, rather than volume. The shell is a highly insulated and air sealed package that come from a reputable panelized company. In addition to the highly insulated envelope, triple glazed windows insured this home received passive rated blower door test. Clean lines, natural wood floors and beam work, as well as handmade cabinetry helped to give this project a very livable, warm and clean vibe.

Jim Westphalen
Inspiration for a mid-sized contemporary formal and open concept concrete floor and gray floor living room remodel in Burlington with white walls, a wood stove and no tv

Karuna Passive House designed by Holst Architecture and built by Hammer & Hand. This high performance home meets the world's most demanding green building certifications. Photo by Jeremy Bittermann.

Gabrielle Cheikh Photography | gabriellecheikh.com
Inspiration for a large contemporary formal and open concept light wood floor living room remodel in Indianapolis with white walls, a hanging fireplace, a metal fireplace and no tv

Just completed by TK Homes with interior design by Jessica Koltun, this gorgeous coastal contemporary home has been superbly rebuilt into a unique showcase of quality and style. The wide-open floor plan features high volume ceilings, light wood flooring, & an abundance of windows that flood the home with natural light.

Photo by Vern Uyetake
Small 1960s beige tile and porcelain tile porcelain tile drop-in bathtub photo in Portland with an undermount sink, flat-panel cabinets, medium tone wood cabinets, a one-piece toilet and beige walls

The client for this home wanted a modern structure that was suitable for displaying her art-glass collection. Located in a recently developed community, almost every component of the exterior was subject to an array of neighborhood and city ordinances. These were all accommodated while maintaining modern sensibilities and detailing on the exterior, then transitioning to a more minimalist aesthetic on the interior. The one-story building comfortably spreads out on its large lot, embracing a front and back courtyard and allowing views through and from within the transparent center section to other parts of the home. A high volume screened porch, the floating fireplace, and an axial swimming pool provide dramatic moments to the otherwise casual layout of the home.

High volume ceiling over dining room was built over. Upstairs included a bedroom and a large open loft. Project and Photo by Chris Doering TRUADDITIONS We Turn High Ceilings Into New Rooms. Specializing in loft additions and dormer room additions.

Two sets of washers and dryers accommodates high volume usage. Jonathan Miller
Dedicated laundry room - mid-sized transitional galley medium tone wood floor dedicated laundry room idea in DC Metro with a single-bowl sink, recessed-panel cabinets, medium tone wood cabinets, granite countertops, beige walls and a stacked washer/dryer

With a high volume of traffic through this home, Paradigm Longboard vinyl flooring was the easy choice to give the room a sense of country style and high longevity to spills, anxious paws and the elements in general. With a 20 mil wear layer carrying a ceramic bead coating it's ready for any job.

Design and Photo by Chris Doering for Truadditions
Inspiration for a mid-sized timeless balcony remodel in Orange County

Modern Farmhouse is a contemporary take on a tradition building type, the Connecticut farmhouse. Our clients were interested in a house that fit in with the landscape while providing plenty of daylight with views to the surrounding property. The design uses simple gables arranged in a picturesque manner. It balances clean modern lines, traditional forms, and rustic textures. The new house is bright and light while also feeling personal and unique. There was interest early on to compress the construction time and to design a building that would not take a lot of energy to run. To achieve these goals, the design of the main house used modular construction and a high performance envelope. To articulate the surfaces of the spaces, the owner assembled a group of designers and artisans. Natural textures and tones were layered over the volumes to give a sense of place and time. The modular units of the house are produced by Huntington Homes in East Montpelier, Vermont. In addition to the main house, there is a pool house that sits symmetrically on the main axis of a long swimming pool. A glass enclosed living room fits between two concrete volumes that house a bathroom and storage spaces. An outdoor shower faces south, with an oculus that lets light in when the door is closed. The simple forms of the pool house sit below a green roof, which protects the glassy room from the summer sun and integrates the building into the hilly landscape.

New nine foot ceiling line under the new room addition. Dining room remains high volume.
Example of a mid-sized transitional laminate floor and white floor living room design in Orange County with white walls

The Mazama house is located in the Methow Valley of Washington State, a secluded mountain valley on the eastern edge of the North Cascades, about 200 miles northeast of Seattle. The house has been carefully placed in a copse of trees at the easterly end of a large meadow. Two major building volumes indicate the house organization. A grounded 2-story bedroom wing anchors a raised living pavilion that is lifted off the ground by a series of exposed steel columns. Seen from the access road, the large meadow in front of the house continues right under the main living space, making the living pavilion into a kind of bridge structure spanning over the meadow grass, with the house touching the ground lightly on six steel columns. The raised floor level provides enhanced views as well as keeping the main living level well above the 3-4 feet of winter snow accumulation that is typical for the upper Methow Valley. To further emphasize the idea of lightness, the exposed wood structure of the living pavilion roof changes pitch along its length, so the roof warps upward at each end. The interior exposed wood beams appear like an unfolding fan as the roof pitch changes. The main interior bearing columns are steel with a tapered “V”-shape, recalling the lightness of a dancer. The house reflects the continuing FINNE investigation into the idea of crafted modernism, with cast bronze inserts at the front door, variegated laser-cut steel railing panels, a curvilinear cast-glass kitchen counter, waterjet-cut aluminum light fixtures, and many custom furniture pieces. The house interior has been designed to be completely integral with the exterior. The living pavilion contains more than twelve pieces of custom furniture and lighting, creating a totality of the designed environment that recalls the idea of Gesamtkunstverk, as seen in the work of Josef Hoffman and the Viennese Secessionist movement in the early 20th century. The house has been designed from the start as a sustainable structure, with 40% higher insulation values than required by code, radiant concrete slab heating, efficient natural ventilation, large amounts of natural lighting, water-conserving plumbing fixtures, and locally sourced materials. Windows have high-performance LowE insulated glazing and are equipped with concealed shades. A radiant hydronic heat system with exposed concrete floors allows lower operating temperatures and higher occupant comfort levels. The concrete slabs conserve heat and provide great warmth and comfort for the feet. Deep roof overhangs, built-in shades and high operating clerestory windows are used to reduce heat gain in summer months. During the winter, the lower sun angle is able to penetrate into living spaces and passively warm the exposed concrete floor. Low VOC paints and stains have been used throughout the house. The high level of craft evident in the house reflects another key principle of sustainable design: build it well and make it last for many years! Photo by Benjamin Benschneider

This monumental, custom-fabricated back bar is the ultimate all-in-one entertainment station, seamlessly blending heavy-duty industrial aesthetics with high-end beverage service. Engineered on a massive, robust welded steel skeleton, the unit features warm, solid wood side panels that provide a beautiful organic contrast to the dark, clear-coated metal framework. The piece is finished with a substantial, durable countertop prepped for high-volume use and equipped with a professional-grade countertop draft beer tower. Designed for peak hospitality, this bar effortlessly houses three major stainless steel appliances side-by-side. The layout includes a built-in ice machine on the left, a central glass-front wine fridge illuminated by striking blue LED lighting, and a concealed kegerator base on the right to service the overhead tap. Separating the appliance bays are two highly functional storage compartments accessed by custom-fabricated doors featuring industrial expanded steel mesh. To ensure a premium, dimensional profile and unparalleled structural integrity, these steel-framed mesh doors are meticulously engineered to sit over the face frame behind them with a strict .25-inch overlap, entirely eliminating flat inset alignments. Heavy-duty exterior hinges and sleek bar pulls complete the formidable, professional-grade look.

YOUNG ARCHITECTS STUDIO COMPETITION PROJECT: Clean Water Workshop PARTICIPANT: Robert Tuñón and Keith Labutta DESCRIPTION: Pittsburgh’s waterways are not polluted because of our industrial past, but because our antiquated infrastructure causes 16 billion gallons of wastewater to overflow into the city’s rivers every year. The built-up shoreline forces rainwater runoff directly into the waterways, and the lack of green space at the rivers’ edge allows for limited natural filtration. There is increased public access and interaction with the riverfront, but recreationalists lack awareness of the unhealthy state of the rivers. As an intervention, the Clean Water Workshop provides a place where every day recreational activities aid in the filtration of rainwater runoff. Collective individuals and teams power a variety of resistance machines to generate the energy used in the water filtration process. To carry out this mission, the highly visible urban void beneath the Tenth Street Bypass will be utilized, as it is a place where a dense roadway system meets a high volume of pedestrian traffic. JURY COMMENTS: The jury selected this project because it addresses a real void with a real solution, addressing a need that exists both recreationally and environmentally. We need attention drawn to clean water and the solution engages the community. It achieves everything we want to do on our riverfronts and makes it fun to participate. This space is very bleak from the other side of the river, yet the solution makes all the space useable and beautifully conveys the aesthetic of Pittsburgh’s riverfronts at night. The project has a totally modern sensibility, done simply and practically, as a celebration of health. It is clearly presented and highly inventive. The graphics are superb.

## 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.

**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.

Design work started with a modest design focused on improving the kitchen, living, dining and outdoor living areas. However, a feasibility study determined that a better option was to fully remodel the existing dwelling, resulting in reclaiming some of the front veranda to increase the size of the living and dining areas. The remaining section created an alcove to the main bedroom, increasing privacy and creating a dedicated outdoor area. A large awning, cantilevered so as not to impose on the existing septic, created a separate outdoor living area. A teak facade, that will weather to grey in the salty sea air over time, was added to extend high above the box gutter, conceal the solar panels and cap the ends of the separation walls. The roof was repitched and the internal ceilings raked upwards from the teak facade, thereby increasing the internal volume and allowing for the addition of high-light windows in rooms on the ridge side of the dwelling to capture the vista, increase natural light, ventilation and sense of space. A skillion roof outside the back kitchen area was strategically positioned out of sight from the inside of the home and created a second outdoor area in the rear courtyard, serving as the main entry point. A gate house was incorporated in the rear fence to enhance the entry. The rear courtyard reclaimed an existing parking bay to create space for the cellar/music room.