The project’s starting point was to understand the building’s original post and beam structure and to use that internal logic to formulate a sympathetic remodel. With an emphasis on the upper back unit, the owner’s private residence within this recently purchased Edward Killingsworth triplex, the first order of business was to strip the excess out and to return the complex to something that resembled the original. With a limited budget, the tact was to restore where possible, and to insert where needed, but always with a sympathetic eye. The kitchen quickly became the primary focus and it was soon realized that by removing the division between the existing galley and family room that the essence of the structural system could be revealed. Once opened the datum of the layered beams was adhered to with the kitchen reinforcing this overhead water line. The primary internal wall was then highlighted with a new wood veneer with the refrigerator recessed (borrowing a bit of space from the master closet) and the existing heater chromed.

The proposal analyzes the site as a series of existing flows or “routes” across the landscape. The negotiation of both constructed and natural systems establishes the logic of the site plan and the orientation and organization of the new home. Conceptually, the project becomes a highly choreographed knot at the center of these routes, drawing strands in, engaging them with others, and propelling them back out again. The project’s intent is to capture and harness the physical and ephemeral sense of these latent natural movements as a way to promote in the architecture the wanderlust the surrounding landscape inspires. At heart, the client’s initial family agenda--a home as antidote to the city and basecamp for exploration--establishes the ethos and design objectives of the work. Photography - Bruce Damonte

The project’s starting point was to understand the building’s original post and beam structure and to use that internal logic to formulate a sympathetic remodel. With an emphasis on the upper back unit, the owner’s private residence within this recently purchased Edward Killingsworth triplex, the first order of business was to strip the excess out and to return the complex to something that resembled the original. With a limited budget, the tact was to restore where possible, and to insert where needed, but always with a sympathetic eye. The kitchen quickly became the primary focus and it was soon realized that by removing the division between the existing galley and family room that the essence of the structural system could be revealed. Once opened the datum of the layered beams was adhered to with the kitchen reinforcing this overhead water line. The primary internal wall was then highlighted with a new wood veneer with the refrigerator recessed (borrowing a bit of space from the master closet) and the existing heater chromed.

Architect Dalius Regelskis DGD / Dalius & Greta Design Vilnius, Lithuania

Nestled into the hills of Portola Valley, California the structures open space carefully defines and details outdoor rooms and interior space. While this form naturally echoes its landscape and beauty it was able to maintain and score Gold in LEED (Leadership in Energy and Environmental Design). The Windy Hill Heaven residents incorporated sustainable aspects such as: STRUCTURE // Passive-solar design, spray foam insulation, structurally insulated panel called (SIPs), and high efficiency low e windows ELECTRICITY // Photovoltaic solar-panel array tied to the grid allowing this home to be net zero, Energy Star appliances, and energy efficient fans and lighting HEATING AND COOLING // In-floor radiant hot-water and a highly efficient fireplace SUSTAINABLE FEATURE // Native landscaping locally sourced building materials, low-VOC materials, paint and sealers. In all making this a very ECO-logically designed home

Referred by our client across the street, this project was one for the books! It started out just as a laundry room, that then included the back garage entry, that migrated to the owner's suite, that then logically had to include the remaining powder that was located between the spaces. For the laundry we removed the second powder bath on the main level, as well as a closet and rearranged the layout so that the once tiny room was double in size with storage and a refrigerator. For the mudroom we removed the classic bifold closet and made it a built-in locker unit.​ We tied the two spaces together with a tiled floor and pocket door. For the powder we just did cosmetic updates, including a bold navy vanity and fun wallpaper.

This project was never really about the architecture. It was about a family that collects — art, ceramics, books, ideas — and needed a home that could hold all of that without turning into a museum. The existing unit had good bones: generous ceiling heights, a floating stair, and enough square footage to work with. What it lacked was a coherent logic — a way of moving through the space that felt intentional, where each transition earned its moment. We rebuilt that logic from the ground up. The ground floor is organized around a single corridor that runs from the kitchen island through to the living room, with the staircase serving as the spine of the whole sequence. Rather than treating the stair as purely functional, we kept the glass balustrade open and lit the treads from below, so it reads as a light source as much as a passage. The console beneath it became a natural landing for ceramics and found objects — not styled, just placed. In the living room, the brief was simple: make room for a very large painting without the room feeling like a gallery. The answer was to keep everything else quiet — a white built-in that does its job, sheer linen curtains that diffuse the light, black leather chairs that anchor the space without competing. The painting does the rest. Upstairs, the landing is lit by a skylight that washes the hallway in natural light through most of the day. We lined one side with a burl wood console and let the ceramics and framed works speak for themselves. The mix of abstract prints, a bold red canvas, and handmade vessels gives the corridor a rhythm that feels accumulated over time rather than installed all at once — because it was. Throughout, the material palette is deliberately restrained: white oak floors, white walls, white millwork. The restraint isn't minimalism for its own sake — it's a backdrop. The owners bring the color, texture, and personality. Our job was to give them the right walls to hang things on.

This project was never really about the architecture. It was about a family that collects — art, ceramics, books, ideas — and needed a home that could hold all of that without turning into a museum. The existing unit had good bones: generous ceiling heights, a floating stair, and enough square footage to work with. What it lacked was a coherent logic — a way of moving through the space that felt intentional, where each transition earned its moment. We rebuilt that logic from the ground up. The ground floor is organized around a single corridor that runs from the kitchen island through to the living room, with the staircase serving as the spine of the whole sequence. Rather than treating the stair as purely functional, we kept the glass balustrade open and lit the treads from below, so it reads as a light source as much as a passage. The console beneath it became a natural landing for ceramics and found objects — not styled, just placed. In the living room, the brief was simple: make room for a very large painting without the room feeling like a gallery. The answer was to keep everything else quiet — a white built-in that does its job, sheer linen curtains that diffuse the light, black leather chairs that anchor the space without competing. The painting does the rest. Upstairs, the landing is lit by a skylight that washes the hallway in natural light through most of the day. We lined one side with a burl wood console and let the ceramics and framed works speak for themselves. The mix of abstract prints, a bold red canvas, and handmade vessels gives the corridor a rhythm that feels accumulated over time rather than installed all at once — because it was. Throughout, the material palette is deliberately restrained: white oak floors, white walls, white millwork. The restraint isn't minimalism for its own sake — it's a backdrop. The owners bring the color, texture, and personality. Our job was to give them the right walls to hang things on.

This project was never really about the architecture. It was about a family that collects — art, ceramics, books, ideas — and needed a home that could hold all of that without turning into a museum. The existing unit had good bones: generous ceiling heights, a floating stair, and enough square footage to work with. What it lacked was a coherent logic — a way of moving through the space that felt intentional, where each transition earned its moment. We rebuilt that logic from the ground up. The ground floor is organized around a single corridor that runs from the kitchen island through to the living room, with the staircase serving as the spine of the whole sequence. Rather than treating the stair as purely functional, we kept the glass balustrade open and lit the treads from below, so it reads as a light source as much as a passage. The console beneath it became a natural landing for ceramics and found objects — not styled, just placed. In the living room, the brief was simple: make room for a very large painting without the room feeling like a gallery. The answer was to keep everything else quiet — a white built-in that does its job, sheer linen curtains that diffuse the light, black leather chairs that anchor the space without competing. The painting does the rest. Upstairs, the landing is lit by a skylight that washes the hallway in natural light through most of the day. We lined one side with a burl wood console and let the ceramics and framed works speak for themselves. The mix of abstract prints, a bold red canvas, and handmade vessels gives the corridor a rhythm that feels accumulated over time rather than installed all at once — because it was. Throughout, the material palette is deliberately restrained: white oak floors, white walls, white millwork. The restraint isn't minimalism for its own sake — it's a backdrop. The owners bring the color, texture, and personality. Our job was to give them the right walls to hang things on.

This project was never really about the architecture. It was about a family that collects — art, ceramics, books, ideas — and needed a home that could hold all of that without turning into a museum. The existing unit had good bones: generous ceiling heights, a floating stair, and enough square footage to work with. What it lacked was a coherent logic — a way of moving through the space that felt intentional, where each transition earned its moment. We rebuilt that logic from the ground up. The ground floor is organized around a single corridor that runs from the kitchen island through to the living room, with the staircase serving as the spine of the whole sequence. Rather than treating the stair as purely functional, we kept the glass balustrade open and lit the treads from below, so it reads as a light source as much as a passage. The console beneath it became a natural landing for ceramics and found objects — not styled, just placed. In the living room, the brief was simple: make room for a very large painting without the room feeling like a gallery. The answer was to keep everything else quiet — a white built-in that does its job, sheer linen curtains that diffuse the light, black leather chairs that anchor the space without competing. The painting does the rest. Upstairs, the landing is lit by a skylight that washes the hallway in natural light through most of the day. We lined one side with a burl wood console and let the ceramics and framed works speak for themselves. The mix of abstract prints, a bold red canvas, and handmade vessels gives the corridor a rhythm that feels accumulated over time rather than installed all at once — because it was. Throughout, the material palette is deliberately restrained: white oak floors, white walls, white millwork. The restraint isn't minimalism for its own sake — it's a backdrop. The owners bring the color, texture, and personality. Our job was to give them the right walls to hang things on.

To stay or to go? This is the question our clients are still pondering. Yet, as their youngest child heads off to college, they are ready to enjoy their new kitchen or feature it in a real estate listing. Since they were unsure of their plans, we decided a pull and replace renovation was the logical — and most economical—choice. While all appliances remain in their same locations, we were able to make easy adjustments with cabinetry to update the space: convert a desk to a beverage center; increase the size of the island; install an island countertop with overhang for seating; and lengthen the perimeter cabinetry and add a tip-up, on-counter cabinet to house small appliances. The color palette was based on introducing warm grays to the space while ensuring the existing Brazilian cherry floor remained compatible with the new design. A combination of light gray and dark gray painted cabinetry (Medallion, Irish Crème and Frappe) updates the space, along with bronze finishes. A unique hex-patterned white tile backsplash with contrasting gray grout on the perimeter adds interest yet keeps the focus on the island. We installed the understated Cambria Whitehall on the perimeter with the vivid Cambria Skara Brae on the island. We worked closely with the stone fabricator to ensure the Skara Brae’s veining pattern matched the client’s vision. Above the island countertop, we installed two oversized pendants to add intensity and beauty as you enter the room.

Mary came to us looking to update her kitchen utilizing the same layout. She wanted to create a lighter and brighter feel, while highlighting unique features. We were able to achieve this by installing 2 tone colored cabinets using Grabill custom cabinets. For the base cabinets and pantry cabinet Mary selected true blue glaze as the color, and super white for her wall cabinets. Also, in the wall angled cabinet, Mary wanted a glass enhancement to showcase certain items. For the countertop, Cambria’s Seagrove was used. The look was tied together with Emer’s Logic gray gloss 3” x 6” subway tile. Other materials used include; Blanco’s Ikon apron front sink in metallic gray, delta’s hand free esque kitchen faucet, and Lydia t-shape knobs (wall and upper pantry doors) and Lydia pulls (base and lower pantry doors).

kitchenCRATE Esta Ave. | Modesto, CA | Quartz: MSI Peppercorn White | Backsplash: Emser Fawn 4X16 Gloss Tiles | Cabinets: Kelly-Moore Smoky Day | Sink: Blanco Diamond in Truffle | Cabinet Pulls: Hickory 3” pulls in Satin Nickel

©️Maxwell MacKenzie THE HOME, ESSENTIALLY A RUIN WAS PRESERVED THROUGH NEGLECT. A CLARIFIED HISTORIC RENOVATION REMOVES BAY WINDOWS AND 1950’S WINDOWS FROM THE MAIN FAÇADE. TWO WINGS AND A THIRD FLOOR AND A SYMPATHETIC STAIRWAY ACCOMMODATE MODERN LIFE. MASONS WERE TASKED TO MAKE THE STONE WORK LOOK AS THOUGH “A FARMER BUILT THE WALLS DURING THE NON-PLANTING SEASON,” THE FINAL DESIGN SIMPLIFIES THE FIRST FLOOR PLAN AND LEAVES LOGICAL LOCATIONS FOR EXPANSION INTO COMING DECADES. AMONG OTHER AWARDS, THIS TRADITIONAL YET HISTORIC RENOVATION LOCATED IN MIDDLEBURG, VA HAS RECEIVED 2 AWARDS FROM THE AMERICAN INSTITUTE OF ARCHITECTURE.. AND A NATIONAL PRIVATE AWARD FROM VETTE WINDOWS WASHINGTON DC ARCHITECT DONALD LOCOCO UPDATED THIS HISTORIC STONE HOUSE IN MIDDLEBURG, VA.lauded by the American Institute of Architects with an Award of Excellence for Historic Architecture, as well as an Award of Merit for Residential Architecture

  Free ebook, Creating the Ideal Kitchen. DOWNLOAD NOW   This Glen Ellyn couple wanted to transform their dated kitchen into a more family-friendly space to use on a daily basis for cooking family meals and for entertaining friends. The existing kitchen was quite chopped up with strange soffits and different ceiling heights. To make the space flow in a more logical manner, we borrowed an unused desk area from the adjoining hallway and reconfigured a neighboring bath. Getting it to work on paper was fairly straightforward, but there was a bit of complicated beam work involved as the new kitchen flows through what was an old exterior wall. The new ceiling is now completely flush as we were able to hide the support in the ceiling joists. A new, larger window was added at the sink, the doorway to the room was widened and the resulting space creates a more easy flow from dining room to family room. The clients chose white inset cabinets, white marble tops and an apron sink to keep the space feeling simple yet original to the home's Colonial styling. Ship lap siding on the back of the island and at the pantry storage ceiling, a walnut butcher block, and antique brass details give the space an updated look. Professional stainless appliances are functional and beautiful. In addition to a large built-in fridge and 36" range, a second oven is housed in the island for flexibility. The pantry area has a convenience station that houses the family's espresso machine along with the microwave drawer. Another large bank of cabinets in the same area serves as pantry storage for dry goods. The bathroom was also remodeled as part of this project. The full bath has a vanity, shower and convenient baby changing area. The floor is encaustic tile, a type of concrete tile recognizable by its bold graphics. The mirror and lighting add a few modern touches to keep it in line with the Owner's personal style. Designed by: Susan Klimala, CKD, CBD Photography by: Carlos Vergara For more information on kitchen and bath design ideas go to: www.kitchenstudio-ge.com

Photography by Bill Metzger
Example of a transitional exterior home design in Austin

Nestled into the hills of Portola Valley, California the structures open space carefully defines and details outdoor rooms and interior space. While this form naturally echoes its landscape and beauty it was able to maintain and score Gold in LEED (Leadership in Energy and Environmental Design). The Windy Hill Heaven residents incorporated sustainable aspects such as: STRUCTURE // Passive-solar design, spray foam insulation, structurally insulated panel called (SIPs), and high efficiency low e windows ELECTRICITY // Photovoltaic solar-panel array tied to the grid allowing this home to be net zero, Energy Star appliances, and energy efficient fans and lighting HEATING AND COOLING // In-floor radiant hot-water and a highly efficient fireplace SUSTAINABLE FEATURE // Native landscaping locally sourced building materials, low-VOC materials, paint and sealers. In all making this a very ECO-logically designed home

This is the 4th space that we have designed for this great couple. I was elated to find out that they have a new member to their family and they needed help designing their new family space! Their unfinished walkout basement was the logical space to remodel. We maximized every inch of this unfinished space. Our clients goal was to add additional living space and full bathroom- mission accomplished! I worked with my client and their contractor designing and space planning. The results are: two new home offices, a workout space, closed storage area, kids space ,lounging area and full bath! The beautifully designed Pottery barn furniture, Sherwin Williams whites on the walls, modern farmhouse accents and minimalist decor allows for this family to use every inch of their home.. The additional usable and beautifully designed square footage is priceless.

project by MARGSTUDIO photos by Sara Magni
Example of a minimalist kitchen design in Milan