Customer Photo: "Wanted a new papasan cushion and we figured Cushion Source was the best place to go to. Amazing quality and even better pattern than we expected. Love it!" Featured Fabric Premier Prints Isadella Premier Navy/Slub

Custom Surface Solutions (www.css-tile.com) - Owner Craig Thompson (512) 430-1215. This project shows the remodel of a master bathroom with before and after pictures of the project. 32" x 16" tile was used on the walls and 32 x 8" tile on the floor. The accent and shower pan tile is flat pebble stones. The faucets are Delta.

Living room - large transitional open concept light wood floor and brown floor living room idea in Oklahoma City with white walls, a standard fireplace, a concrete fireplace and a tv stand

Mid-sized eclectic carpeted straight wood railing staircase photo in New York with carpeted risers

Photo: Robert Benson
Eclectic bedroom photo in New York

Minimalist straight staircase photo

Sleek in design, and highly functional shower heads, these shower heads were meant for people who want one thing: an amazing and relaxing shower experience without unnecessary frills. Luxury, quality, and beautiful design, all come together with our Rain Therapy Collection.

Soccer ball wall display by Osmond Designs.

J. Albert Studios
Huge traditional brown two-story wood exterior home idea in Cleveland

Patrick Barta
Example of a trendy staircase design in Seattle

Signature Aquatics | Midnight Blue Pebble Tec
Inspiration for a contemporary pool remodel in Phoenix

The photograph is constructed as a deliberate act of framing — an enfilade view captured through a threshold, in which the aperture of a doorway becomes both proscenium and compositional device. The image is organized around a strong vertical tripartite division: a dark stile of paneled millwork at the left edge, the luminous rectangle of the adjacent sitting room at center, and a substantial pier of figured hardwood joinery at right, terminating in a plinth-like pedestal. This asymmetrical clamping of the bright volume between two dark masses produces a pronounced sense of compression and release, a Wrightian sequencing in which the constricted, wood-lined passage funnels the eye toward the softer, higher-key room beyond. The architectural vocabulary within that inner volume is restrained and orthogonal: crisp painted plaster planes, a shallow soffit or dropped beam crossing the ceiling to modulate the overhead datum, and a simple flat-stock baseboard that reads as a quiet ground line rather than an ornamental flourish. The sightline is layered and telescopic — foreground jamb, mid-ground seating group, background artwork on the far wall — establishing depth through overlapping planes rather than perspectival theatrics. Underfoot, a herringbone-laid oak parquet in the passage gives way to a large-format sisal rug bound in linen tape, its rectilinear geometry reinforcing the axis while softening the transition between circulation and repose. The material argument here is one of calibrated opposition: dense, saturated hardwood against pale, absorptive plaster and textile. The framing joinery — most plausibly a rich mahogany or stained cherry, its cathedral grain and ribbon figure fully legible under raking light — carries a deep oxblood-to-umber tonality and a satin, hand-rubbed sheen that lends the passage a library-like gravity. Against this, the interior room is rendered in a warm off-white with distinctly yellow-ochre undertones, avoiding the clinical chill of a true cool white and instead reading as parchment or unbleached linen. The upholstery — a rolled-arm wing chair and matching ottoman in a camel or buff-toned cotton velvet — supplies the tactile fulcrum of the composition: a napped, light-absorbing pile that contrasts against the coarse, tightly woven boucle of the sisal below and the smooth lacquer of the vertical joinery. Accent notes are sparing and precise: a pale celadon embroidered cushion introduces the only cool chromatic interruption; a rectilinear bench in blond ash with a woven black leather strap deck delivers a graphic, near-Nordic counterpoint; and a monolithic white ceramic vessel atop the pedestal provides a hard, matte punctuation. The abstract work on paper — a gestural monochrome in charcoal, ink and Payne's grey, generously matted behind glass — functions as the room's tonal anchor, its cool achromatics preventing the warm palette from tipping into sentimentality. Sprays of yellow oncidium orchid supply the single high-chroma gesture, echoing the ochre undertone of the walls. The lighting strategy is layered, low-lumen and unapologetically warm, eschewing ambient wash in favor of discrete pools of illumination. A slim linear picture light, bronze-finished and cantilevered from the wall, grazes the artwork with a scalloped throw that reveals the tooth of the paper and establishes the far wall as the room's luminous terminus. A chrome-shaded articulating floor lamp — a modernist task fixture with a distinctly mid-century pedigree — provides a secondary, reflective glint and introduces the only cool metallic in the palette. Daylight enters obliquely and unseen from the left, softly modeling the plaster and the velvet nap without ever flattening the composition; the foreground joinery, meanwhile, sits in deep shadow, its grain caught only in a slow, specular gradient. The cumulative atmosphere is one of hushed, crepuscular intimacy — a room calibrated for reading and retreat rather than reception. Stylistically, the project resolves into a form of Transitional Warm Modernism: the classical proportioning, paneled millwork and rolled-arm seating are drawn from a traditional American vocabulary, yet they are stripped of applied ornament, edited to essentials, and disciplined by the graphic austerity of the abstract art and the blond-and-black bench. It is a sensibility best characterized as quiet luxury — tonal, textural, and materially honest, deriving its authority from the resonance of grain, nap and light rather than from any declarative gesture.

**I. Spatial Composition & Architectural Volume** This is an exercise in the disciplined choreography of a constrained footprint — a narrow, rectilinear bathroom whose length is exploited rather than disguised. The composition unfolds along a single axis, the viewer's eye drawn from the foreground console lavatory, past the drop-in tub, to the terminal glazed aperture that anchors the far wall and releases the volume outward. The photograph's vantage, taken through a partially opened multi-paneled door with its cushioned rail-and-stile profile and beveled glazing, establishes a layered threshold condition: the room is framed, glimpsed, and entered simultaneously. Ceiling height is generous relative to plan dimension, and the architect has resisted the temptation to lower it; instead, a slender crown profile and a delicate picture-rail cornice terminate the field tile at a consistent datum, reinforcing the vertical proportion. Above the tub, a bank of recessed-panel cabinetry is set flush into the reveal of a soffit, borrowing the depth of the wall assembly to gain storage without protrusion — a deft piece of joinery logic. The window is treated as an architectural niche, its deep jambs and marble sill establishing a plinth that reads as inhabited rather than merely functional. Overhead, an exposed nickel-plated curtain rod traverses the ceiling plane in a single diagonal gesture, its cantilevered support rendering the drapery a movable spatial partition rather than a fixed enclosure. **II. Materiality, Color & Texture** The palette is a study in monochromatic gradation, calibrated almost entirely within the white spectrum yet richly differentiated by surface behavior. Hand-glazed subway tile in a running-bond pattern clads the wet walls, its subtle undulation and pooled glaze catching light unevenly to produce a soft, ceramic luminosity that no machine-pressed tile could replicate. Underfoot, a penny-round mosaic in matte porcelain introduces fine-grain granularity and a faintly warm grout line, its curvilinear tessellation providing tactile counterpoint to the orthogonal wall coursing. Marble — likely a Calacatta or lightly veined Carrara — appears strategically at the lavatory deck, the tub apron cap, and the window sill, its ochre-gold and cool grey veining supplying the room's only true figuration and its principal chromatic warmth. Polished nickel is the unifying metal, deployed with unusual generosity: the exposed console legs and cross-braced towel bar, the exposed riser and telephone-style handshower, the cross-handle fittings, and the rose-mounted door knob with its knurled backplate. Its cool, silvery reflectivity absorbs and redistributes ambient light, dissolving the hardware into the field. The single yielding material is the shower curtain — an unlined linen or cotton voile in pale butter-yellow — whose slubby weave, gravity-drawn folds, and warm undertone break the room's cool register and introduce the necessary note of domestic softness. **III. Lighting, Atmosphere & Style Profile** Illumination is overwhelmingly diurnal and unapologetically singular in source: the window at the terminus floods the space with diffuse, high-key daylight that blows toward pure white at the aperture and falls off gradually along the tile, modeling the wall's minute irregularities into a low-relief texture. The absence of visible decorative fixtures — save a discreet ceiling-recessed vent or downlight above the shower — is deliberate; artificial lighting is subordinated so that the material palette performs under natural light. The resulting atmosphere is serene, hygienic without sterility, and quietly luxurious: light behaves as a material in its own right, and the white-on-white scheme functions as a reflector rather than a void. Stylistically, the room synthesizes early-twentieth-century Anglo-American sanitary vernacular — the exposed-plumbing console lavatory, the exposed-riser shower, the metro tile and penny mosaic — with a contemporary editorial restraint that strips out ornament and pattern in favor of proportion and craft. It might be characterized as Refined Classicism, or more precisely, a Transitional Pre-War Revival: historically literate in its detailing, resolutely modern in its spatial economy and tonal discipline. The single pale-yellow textile is the design's signature move, a calibrated warm accent that prevents the achromatic scheme from tipping into clinical austerity and confirms the project's essential thesis — that restraint, correctly executed, reads as generosity.

C Kevin Coffey
Staircase - cottage staircase idea in Nashville

The great room incorporates a living and dining and is open to the kitchen as well as a luxurious back patio. It is the perfect place for entertaining. In this space we used rich wood furniture, including a custom exotic wood scroll bench. Cream and white leather upholstery is predominant with hammered silver nail head trim as accents. An antiqued silver leafed custom bar cabinet in an alcove in the back of the space was custom made just for the client. A floor lamp with crystal accents highlights the gorgeous crystal lamp that rests on the sofa table. A large contemporary art piece on the wall brings in some color and interest. We refinished the walnut strip wood flooring in a darker color for more contrast and placed a custom pony hair area rug to the living room floor for added dimension and luxury. Lots of metal and glass furniture accents are seen throughout. A metallic drapery rod and custom horizontally striped drapery panels over motorized roman shades add a glamorous feel to the space. For an upscale look we used grass cloth and mica wall coverings on the dining room wall. An inlaid walnut sunburst table is surrounded by custom upholstered dining chairs and the focal point is the custom chandelier made with quartz crystal clusters in varied lengths over the dining room table. A player piano in the corner of the room adds to the entertainment ambiance of this new condo. Photography by Erika Bierman

Example of a mid-sized transitional backyard tile patio design in San Diego with a fire pit and an awning

Custom Surface Solutions (www.css-tile.com) - Owner Craig Thompson (512) 430-1215. This project shows new 12 x 24 tile installed vertically with offset layout pattern on wall and floor. Includes shower box with linear glass accent tile back and vertical glass accent band. Tile edges are finished with Schluter Jolly satin aluminum profile edge trim.