Gibeon Photography / Gravity Shots
Large elegant two-story wood exterior home photo in Orange County

weeds and scrub - can it be transformed? Le jardinet

Inspiration for a contemporary outdoor patio shower remodel in New York

Design Consultant Jeff Doubét is the author of Creating Spanish Style Homes: Before & After – Techniques – Designs – Insights. The 240 page “Design Consultation in a Book” is now available. Please visit SantaBarbaraHomeDesigner.com for more info. Jeff Doubét specializes in Santa Barbara style home and landscape designs. To learn more info about the variety of custom design services I offer, please visit SantaBarbaraHomeDesigner.com Jeff Doubét is the Founder of Santa Barbara Home Design - a design studio based in Santa Barbara, California USA.

Inspiration for a large modern master porcelain tile, gray floor, double-sink and vaulted ceiling freestanding bathtub remodel in Philadelphia with recessed-panel cabinets, gray cabinets, a two-piece toilet, gray walls, an undermount sink, quartzite countertops, a hinged shower door, white countertops and a built-in vanity

Whon Photography
Large urban underground carpeted staircase photo in Indianapolis with gray walls and no fireplace

Concrete can be made to look like any substance. Tile, stone, wood, brick, etc. With unlimited color options, Ky-Kan Coatings can transform any room in your home or business using lightweight, beautiful concrete.

Patio - patio idea in DC Metro

This previously unused attic space is now a sauna/yoga room. The left sauna wall follows the attic rafters down diagonally to allow a wider space for leg room on the twin sauna benches.

**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.

**I. Spatial Composition & Architectural Volume** This is a pre-war Manhattan dining room whose proportions have been surgically clarified rather than reinvented. The room reads as a compressed rectilinear volume, its ceiling plane articulated by a shallow dropped soffit and a single exposed transverse beam — a candid acknowledgment of the building's structural grid, left legible rather than concealed behind a coved plaster surround. That beam performs a quiet spatial function: it registers the threshold between the dining zone and the adjoining passage at right, where a sliver of herringbone parquet and a second curtained aperture extend the sightline into a further room, relieving the enclosure and establishing a discreet enfilade. The composition is emphatically axial and symmetrical — chandelier, floral centerpiece, pedestal table and central window mullion align on a single spine — yet the symmetry is deliberately imperfect: the flanking chairs are turned inward on the diagonal, the sideboard weights the left wall, and the artwork on the right hangs off-axis. The result is a Beaux-Arts discipline softened by a decorator's asymmetry. Most consequential is the pelmet, a deep upholstered box valance carried nearly wall-to-wall, which annexes the window into a single monumental glazed field and visually raises the ceiling by drawing the eye above the actual head height of the sash. **II. Materiality, Color & Texture** The palette is a study in monochromatic warmth held within a narrow tonal band of buff, oatmeal, flax and champagne, with saturation kept deliberately low so that texture carries the burden of variety. Underfoot, a wall-to-wall seagrass or sisal matting with a coarse basketweave provides the room's tactile bass note — hard-wearing, faintly agricultural, and set in productive tension with the refined silk-and-linen sheen of the curtains and pelmet. The chairs are a masterstroke of dual upholstery: matte sand-toned fabric on the outside back and a subtle self-striped ottoman weave on the seat and inner face, a device that renders the seating both plush and graphic. Against this envelope of pale neutrals, two dark accents supply the necessary chromatic gravity: the deeply carved, pierced-apron rosewood or mahogany center table, almost Anglo-Indian in its fretwork and baluster pedestal, and the ebonized klismos-splayed chair legs that echo it. The left wall introduces a painted, dry-brushed Gustavian-style commode with lozenge-fretwork doors, its chalky grey-green a cool counterpoint, while gilt frames, a burnished picture light and the silvered chandelier thread a metallic warmth through the whole. **III. Lighting, Atmosphere & Style Profile** Daylight is the room's primary illuminant and it is handled with restraint: the curtains are dressed open but the roman-like sheer inner treatment diffuses the light into a milky, north-facing wash that flattens shadow and flatters the neutral surfaces. Artificial lighting is layered and entirely decorative in expression — the tall, attenuated candle-arm chandelier, hung low and generously scaled, functions as sculpture and as the room's compositional keystone, while two swing-arm brass picture lights provide directional accents that anchor the art as evening focal points. There is no visible downlighting or recessed apparatus; the mood is candlelit, hushed and faintly nocturnal even in daytime. Stylistically the room resolves into what might be termed **Refined Neutral Traditionalism** — an American-classical, Bilhuber-adjacent idiom that marries eighteenth-century Swedish and Anglo-colonial furniture archetypes with contemporary tailoring, tonal upholstery and humble natural-fiber flooring. Its sophistication lies precisely in that calibration: heirloom silhouettes stripped of pattern and color noise, so that carving, weave and gilding become the sole ornamental language.

Tasteful frameless sliding unit. Simple circle pull. Slides w/ ease along rectangular header. - Benjamin Selinske
Tub/shower combo - modern beige tile tub/shower combo idea in Minneapolis

Stuart Wade, Envision Virtual Tours, Inc. Envision Virtual Tours and High Resolution Photography is your best choice to find just what you are looking for in the Lake Burton Area . Knowing the areas and resources of Lake Burton is our specialty Lake Burton is a 2,775 acre man-made lake with 62 miles of shoreline located in the northeastern corner of Georgia in Rabun County. It is the first lake in a five-lake series called the Tallulah River Watershed that follows the original course of the Tallulah River. The series of lakes starts with Lake Burton as the northernmost lake followed by Lake Seed, Lake Rabun, Lake Tallulah Falls and the eastern arm of Lake Tugalo (the western arm is formed by the Chattooga River. The lakes are owned and operated by the Georgia Power Company to generate hydroelectric energy for Georgia's largest city, Atlanta. At one time these lakes were the largest producers of electricity in the state of Georgia. Now, they only provide peak power supply. The lake was built in a deep valley located along a 10 mile section of the Tallulah River. The Lake Burton Dam was closed on December 22, 1919 and the lake started to fill. The dam is a gravity concrete dam, with a height of 128 feet and a span of 1,100 feet. The spillway is equipped with eight gates 22 feet wide by 6.6 feet high. The total capacity at an elevation of 1,866.6 feet is 108,000 acre-ft, of which 106,000 acre-ft is usable storage. The generating capacity of the dam is 6,120 kilowatts (two units).Lake Burton is the highest Georgia Power lake in Georgia. Lake Burton gets its named from the town of Burton, which was the second largest town in Rabun County with a population of approximately 200 but now lies below the lake's surface. The town (and the lake) was named after local prominent citizen Jeremiah Burton and was situated along the road from Clayton, Georgia to the Nacoochee Valley. Andrew Jackson Ritchie served as the postmaster for the area for several years. Gold was first discovered in Rabun County where Dicks Creek and the Tallulah River come together and was the reason for the town's founding in the early 1800s. The Lake Burton Fish Hatchery and Moccasin Creek State Park are located on the western side of the lake. Lake Burton is home to several species of fish, including Spotted Bass, Largemouth Bass, White Bass, Black Crappie, Bluegill, Redear Sunfish, White Catfish, Walleye, Brown Trout, Rainbow Trout, and Yellow Perch. The residents of Lake Burton are a mix of permanent residents and seasonal vacationers who together make-up the Lake Burton Civic Association, a local organization who goal is to maintain the lake through volunteer clean-ups and other such events. Let a Lake Burton resident and expert show you the way The Lake Burton Civic Association is an active homeowners association for residents of the Lake Burton area and sponsors many events throughout the year such as: burton, custom, envision, georgia, lake, mountain, nc, north, photography, web, western, Lake Burton, Lake Rabun, Seed Lake,Virtual Tours.

The solid walnut staircase rises up from the elegant, herringbone patterned hardwood floors and pairs beautifully with the figured walnut back-paneled wall. The custom railing serves as an exclamation point to the rich design.

Exterior, brick, lime, limewash, painted brick, architectural finish

Staircase - mid-sized traditional wooden straight wood railing staircase idea in New York with painted risers

Example of a huge trendy metal floating open staircase design in Minneapolis

Self
Inspiration for a small modern wooden straight staircase remodel in Louisville with wooden risers

Beautiful custom runner to match the unique measurements of this staircase.
Small wooden curved staircase photo in Minneapolis with wooden risers