J Designs produced a bright playful design with natural elements throughout the home that connected the design together.
Inspiration for a contemporary light wood floor and beige floor breakfast nook remodel in Denver with white walls

A beautiful formal living room graced by swoop back side chairs in front of the modern fireplace, an abstract piece of custom art that brings the color scheme together, and a black baby grand piano to ground the space is all one needs to sit in comfort and relax.

Example of a transitional kitchen design in Oklahoma City

Chris Davis Photography
Inspiration for a large transitional l-shaped medium tone wood floor eat-in kitchen remodel in New York with an undermount sink, shaker cabinets, white cabinets, quartzite countertops, gray backsplash, stone slab backsplash, stainless steel appliances and an island

Home design - french country home design idea in Grand Rapids

Photography by Anthony Crisafulli
Small eclectic backyard brick patio photo in New York

Infinite Fire Bowl As the name implies the Infinite is limitless in its design applications. The simple yet elegant shape will naturally draw attention for its style and inviting warmth. Perfect for both residential and commercial applications, Infinite can change appearance from modern to traditional by simply selecting the weathered & textured Travertine finish. Shop Now: https://www.mykindredliving.com/shop/outdoors/fire-bowls

Kohler Traditional Toilet

Example of a small trendy concrete floor family room design in Indianapolis with gray walls and a tv stand

"Revival” implies a retread of an old idea—not our interests at Axis Mundi. So when renovating an 1840s Greek Revival brownstone, subversion was on our minds. The landmarked exterior remains unchanged, as does the residence’s unalterable 19-foot width. Inside, however, a pristine white space forms a backdrop for art by Warhol, Basquiat and Haring, as well as intriguing furnishings drawn from the continuum of modern design—pieces by Dalí and Gaudí, Patrick Naggar and Poltrona Frau, Armani and Versace. The architectural envelope references iconic 20th-century figures and genres: Jean Prouvé-like shutters in the kitchen, an industrial-chic bronze staircase and a ground-floor screen employing cast glass salvaged from Gio Ponti’s 1950s design for Alitalia’s Fifth Avenue showroom (paired with mercury mirror and set within a bronze grid). Unable to resist a bit of our usual wit, Greek allusions appear in a dining room fireplace that reimagines classicism in a contemporary fashion and lampshades that slyly recall the drapery of Greek sculpture. Size: 2,550 sq. ft. Design Team: John Beckmann and Richard Rosenbloom Photography: Adriana Bufi, Andrew Garn, and Annie Schlecter © Axis Mundi Design LLC

Photo by Jay Sifford.
Photo of an eclectic landscaping in Charlotte.

An artistic dry creek bed was installed to address runoff issues. Photo by Jay Sifford
Inspiration for an asian landscaping in Charlotte.

Example of a trendy bathroom design in Miami

This 1790 farmhouse had received an addition to the historic ell in the 1970s, with a more recent renovation encompassing the kitchen and adding a small mudroom & laundry room in the ’90s. Unfortunately, as happens all too often, it had been done in a way that was architecturally inappropriate style of the home. We worked within the available footprint to create “layers of implied time,” reinstating stylistic integrity and un-muddling the mistakes of more recent renovations.

**I. Spatial Composition & Architectural Volume** This interior operates on a strategy of framed extension, in which the room's perceived volume is borrowed from the garden beyond rather than asserted through internal grandeur. The composition is governed by a rigorous orthogonal discipline: a full-height sliding glazing system, set within a deep oak-lined reveal, functions as both aperture and proscenium, its slender mullions dividing the exterior into a triptych of vegetal planes. The generous depth of that reveal — expressed as a substantial threshold plinth and continuous jamb casing — reads less as trim than as tectonic gesture, giving weight and thickness to the enclosure and reinforcing the sense of a pavilion pressed against a green wall. To the left, a floor-to-ceiling pocketing door of book-matched, quarter-sawn oak establishes a monolithic vertical counterpoint, its recessed flush pull the only interruption of an otherwise uninflected plane; the shallow return of the wall beyond it creates a compressed entry sequence that releases into the primary volume. The flat, shadowless plaster ceiling maintains a neutral lid over the composition, while the furniture plan is deliberately low-slung and horizontal — a deep sectional set parallel to the glazing, a leather-topped ottoman, and a low occasional table — so that no element rises to compete with the sightline. Circulation is implied along the wall's edge, funnelling toward the terrace and its al fresco dining vignette, which acts as the room's terminal focal point and extends the interior axis outward. **II. Materiality, Color & Texture** The palette is a study in low-contrast tonal layering, calibrated within a narrow band of warm neutrals and animated almost entirely by the saturated chlorophyll green of the ivy screen. Rift-cut white oak, finished in a matte oil that reveals rather than glosses its medullary figure, provides the room's structural warmth — appearing in the joinery, the window surround, and the herringbone parquet, whose fine chevron rhythm introduces a subtle graphic pattern at foot level. Walls are treated in what appears to be a woven grasscloth or linen-effect wallcovering in a pale oatmeal tone, its faint horizontal striation catching raking light and lending textile softness to the perimeter. Against this, the seating is upholstered in a tightly woven, undyed linen-cotton blend with a biscuit-tufted seat platform, its slubbed irregularity a deliberate foil to the precision of the millwork. The cushion program provides the composition's only chromatic incident: an indigo-ground ikat or *kasuri* resist-dyed weave, with its blurred weft-broken banding, paired with a heavier blanket-stitched wool in glaucous blue-grey and buff stripes. Underfoot, a hand-knotted silk-and-wool rug in slate and mineral grey carries an attenuated ogee lattice, its lustrous pile providing cool relief beneath the warmer wood tones. The plinth-mounted travertine or reconstituted-stone planter — matte, porous, faintly chalky — and the honed grey stone paving beyond introduce lithic gravity, balancing the prevailing softness with a mineral edge. **III. Lighting, Atmosphere & Style Profile** Illumination here is almost entirely diurnal and indirect: north-oriented or hedge-filtered daylight arrives diffuse and green-cast, washing the space in a soft, even luminance that suppresses hard shadow and privileges texture over drama. The ivory sheer, hung on a discreet recessed track, tempers glare while retaining silhouette legibility, and the adjacent pinch-pleated overdrape in a taupe-bronze silk-blend — with its subtle vertical striation and slight sheen — offers the option of full blackout while contributing a note of drapery-weight formality. Artificial sources are conspicuously concealed; no decorative fixture interrupts the ceiling plane, implying a scheme of recessed low-glare downlights or perimeter cove washing designed to sustain the daytime ambience after dusk. The resulting atmosphere is one of composed reticence — quiet, tactile, and deeply oriented toward the garden. Stylistically, the project synthesises Japandi restraint (the pocketing timber plane, the shadow-gap detailing, the reverence for the framed view) with the material sensuality and drapery conventions of European Soft Modernism, yielding a warm minimalism in which luxury is communicated through joinery tolerance, textile hand, and the disciplined editing of the palette rather than through ornament or statement furniture. It is an interior conceived as a calm neutral ground — an armature for light, landscape, and the slow accretion of daily life.

This 1790 farmhouse had received an addition to the historic ell in the 1970s, with a more recent renovation encompassing the kitchen and adding a small mudroom & laundry room in the ’90s. Unfortunately, as happens all too often, it had been done in a way that was architecturally inappropriate style of the home. We worked within the available footprint to create “layers of implied time,” reinstating stylistic integrity and un-muddling the mistakes of more recent renovations.

The quarter round displays, solid arch and lovely wine racks make this custom wine cellar Texas a definite success. The arch is the focal point of the wine cellar. We added a tabletop to provide the owner a place for decanting and serving his favorite wines. Below the tabletop is a 3-level case storage. Above the tabletop are standard bottle openings. Take a video tour of this project: http://www.youtube.com/watch?v=CorlG_1Ex3Q&feature=youtu.be Wine Cellar Specialists +1 (773) 234-0112 info@winecellarspec.com Follow us on Twitter: https://twitter.com/winecellarspec

**Spatial Composition & Architectural Volume** The room is organized around a single, decisive architectural gesture: a full-height sliding glazed wall that dissolves the boundary between the sleeping chamber and an enclosed garden court. The composition is fundamentally horizontal — a low-slung bed platform anchoring the right-hand foreground, a seating vignette calibrated to the left, and between them an uninterrupted sightline drawn through the aperture to the ivy-clad boundary wall beyond. This lateral emphasis is reinforced overhead by a recessed shadow-gap ceiling detail and a stepped perimeter cove that reads as a floating plane, subtly compressing the volume at its edges while lifting it at centre. The glazing itself is elegantly restrained: slim black-framed sliders set within a warm timber reveal, the sill deep enough to function as a threshold rather than a mere junction — an architectural pause between interior and exterior. Circulation is generous and diagonal, the ottoman and lounge chair angled to acknowledge both the bed and the view, establishing a soft triangulation of use. The tall marquetry armoire at the right terminates the composition vertically, providing the single strong axis of ascent in an otherwise recumbent plan, and its sculptural crown — a bronze group of standing figures — punctuates the ceiling zone with deliberate counterpoint. **Materiality, Color & Texture** The palette is an exercise in tonal modulation within a narrow chromatic band: greige, taupe, dove, mushroom, all carried on warm grey undertones with no true white and no true black save the slender window mullions. Textural variation, rather than colour contrast, performs the compositional work. The curtains — likely a slubbed silk or textured linen-viscose blend — hang in deep pinch-pleat falls whose vertical striation animates the flanking walls, while the grasscloth wallcovering behind the armoire introduces a fine, dry, horizontal weave. Against these soft-focus surfaces, the armoire delivers the room's most emphatic tactile statement: a hand-carved, faceted diamond-relief pattern in pale limed oak, bleached almost to bone, whose faceted geometry catches and fragments light. Upholstery in supple dove-grey leather on the chair and bench is offset by a crushed-velvet cushion and a finely pleated bolster at the bedhead, layering matte against lustre. Metallics are used sparingly and warmly — antiqued brass sabots on the furniture legs, a brushed bronze plinth-form side table — while the bed's pale coverlet, incised with a fine embroidered arabesque and studded buttoning, contributes a subtle graphic line. Underfoot, a hand-knotted rug in mottled silver-sage over honed stone completes a gradient from cool floor to warm wall. **Lighting, Atmosphere & Style Profile** Natural light is the primary luminous instrument here, admitted as a broad, diffuse northern wash through the glazed wall and rendered soft by the surrounding foliage, which filters and greens the light before it enters. The absence of visible decorative fixtures is intentional: illumination is concealed within the ceiling cove and shadow gaps, implying an evening register of low, indirect ambient light supplemented by discreet task sources. This restraint sustains an atmosphere of hushed, cloistered calm — a sanctuary sensibility in which the garden functions as a living tapestry, its verdant saturation supplying the room's only chromatic release. Stylistically, the scheme reads as Soft Minimalism inflected with Contemporary Continental luxury: a lineage traceable to mid-century French decorative tradition — Jean-Michel Frank's plinths, Royère's rounded silhouettes — reinterpreted through a modernist discipline of tonal reduction and planar clarity. The result is neither austere nor decorative but precisely balanced: a quiet, artisanal luxe in which craft (the carved oak, the cast bronze, the hand-finished textiles) supplies the ornament that colour deliberately withholds.

Inspiration for a large farmhouse black two-story mixed siding exterior home remodel in San Francisco