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SabaRehman Abdulrehman
Morning routines shouldn’t involve a traffic jam at the sink. The 2025 Houzz Bathroom Trends Study found that 65 percent of U.S. renovators now choose a double-sink vanity to skip the wait. Designers agree: Titan Builders dubbed 2025 “the year of bigger, storage-packed double vanities,” forecasting dual-basin setups in family, guest, and even powder baths. As KBIS 2025 launches land, prototypes for 2026 layer in spa-grade wood, built-in outlets, and planet-friendly finishes. In this guide, we rank six standout models and show you how to size, install, and enjoy a clutter-free, two-sink future.
Methodology and selection criteria
A well-planned double-sink vanity keeps busy morning routines calm and clutter-free.
Before we crowned any winners, we mapped the entire 2024–2026 double-sink (dual-basin) market. That meant parsing KBIS exhibitor releases, scraping bestseller lists from Home Depot, Lowe’s, and Wayfair, and reviewing designer short lists in trade magazines. The sweep produced 110 candidate vanities, giving us visibility into every style, price tier, and material in play.
We then scored each model against six weighted factors that continue to matter long after installers leave:
- Build quality – 25 percent.Solid hardwood frames, dovetail drawers, and furniture-grade plywood backs, never particleboard in disguise.
- Design versatility – 20 percent.Lines and finishes that suit modern, classic, or farmhouse baths without dating quickly.
- Sustainability – 15 percent.FSC-certified wood, CARB 2 compliance, and low-VOC finishes for healthier air.
- Storage efficiency – 15 percent.Deep drawers, tilt-outs, or power cubbies that corral countertop clutter.
- Value for money – 15 percent.Fair street price for the materials, stone tops, sinks, and soft-close hardware included.
- Brand reputation and warranty – 10 percent.Manufacturers with responsive support and at least a one-year parts guarantee.
- Footprint: 72 W × 22 D × 36 H in. (183 × 56 × 91 cm)
- Crated weight: 506 lb / 230 kg
- Street price: about $2,575 with marble top and basins, Q4 2025
- Footprint: 48 W × 22 D in. (122 × 56 cm)
- Height: 34.8 in. (88 cm) with backsplash
- Sliding barn door plus 3 drawers
- Pre-drilled 8-in. faucet spacing, sinks included
- Footprint: 60 W × 21 D × 34 H in. (152 × 53 × 86 cm)
- Integrated power: 4 AC + 2 USB, UL-listed
- Crated weight: 300 lb / 136 kg
- Street price: about $2,349 at Home Depot, Q4 2025
- Footprint: 72 W × 22 D in. (183 × 56 cm)
- Height: 34 in. (86 cm) plus 4 in. backsplash
- Counter: 1 in. Carrara marble, apron-front sinks included
- Hardware: oil-rubbed bronze, soft-close doors and drawers
- Footprint: 60 W × 22 D × 34 H in. (152 × 56 × 86 cm)
- Construction: solid poplar and plywood, waterfall quartz top
- Integrated slim power bank, soft-close doors and drawers
- Target price: just under $2,300 with top and basins
HAUS | Architecture For Modern LifestylesCustom Bunk Beds integrate storage cubbies within and roller-drawers beneath. Original storage closet to right opened-up to create full-integrated millwork closet system to match with bunks - Architect: HAUS | Architecture - Construction: WERK | Build - Photo: HAUS | Architecture
Atelier HsuInfluenced by the Eichler homes in the region, the clerestory window in the living space encourages cross-ventilation. The thick rammed earth walls results in a tremendous amount of thermal mass, keeping the indoors comfortably cool even in the middle of Californian summers. In the wintertime, radiant-heated concrete floors provide warmth.
Architect: Juliet Hsu, Atelier Hsu | Design-Build: Rammed Earth Works | Photographer: Mark Luthringer
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UserWhen a visual artist purchases a mass production home in one of Wilmington, NC’s developing neighborhoods, she quickly realizes that the builder’s standard house plans and amenity options lack the personality she craved. A chance visit to the Kitchen & Bath Design Studio showroom proves to be ‘love at first sight’ when a designer listens to the artist’s needs and immediately produces a tile sample that matches the artist’s vision. Can our designer achieve the client’s vision while respecting the production builder’s restrictions and architectural plans? Of course she can!
To satisfy the client’s wish list, the kitchen design required a larger island, more counter space, and semi-custom cabinetry. The client settled on Brazilian cherry-style flooring, her favorite of the builder-approved upgrades for flooring. Iridescent glass mosaic tile and multiple chandelier pendants brought in the “bling factor” at the top of the client’s list—she has penchant for “bright, shiny objects” and wanted her kitchen to reflect a Farmhouse Chic or Rustic Glam aesthetic. Left to her own devices, the client would have veered toward a more liberal, Liberace-esque application of bling, so the designer introduced a neutral color palette and warm, polished nickel finishes as a counterbalance to all of that sparkle and shine.
Working within the builder’s constraints, the designer made changes to the kitchen’s layout to increase island workspace and nearly double countertop space. The client had to go with an entry-level builder-approved refrigerator available in only one fridge counter depth size. So the designer moved the pantry location, situating it behind the refrigerator and then recessed the refrigerator into the pantry to cheat the counter depth needed to flow seamlessly with the semi-custom cabinetry line. She also maximized drawers and upper cabinets to increase storage space, but did not take the upper cabinets to the ceiling to respect the home’s half crown molding details.
Chris Davis Photography
LYNNEL Art to FormLYNNEL produced the backsplash for this project. The client chose one of our portfolio images to be fabricated as a Megatile. All of our images can be cropped, scaled and color modified to best fit the design requirements.
CONTENT ArchitectureLocated in the Houston Heights, the Waverly Residence is a modern home on an established street of two story homes boasting front porch typologies. The family’s desire for privacy resulted in a porch that rotates to internalize most of its function while still addressing the street. For this active family, yard activity and it’s visibility from within the home emerged as a priority for approaching the building’s relationship to the lot. Justifying the building mass to the Northern half of the site reinforces the scale of the design to the surrounding buildings and creates a large southern yard dedicated to play and brisket (is a Texas house a house without a barbeque?).
The ground floor is clad in metal panel and a wood rainscreen that peels away from the structure to become both a fence and an entry threshold, blending the registration between the yard's privacy enclosure and the building skin. Variable width fiber-cement siding clads the second floor as a nod to the neighborhood vernacular. The pool and outdoor kitchen sit at the center of the yard, forming an island that divides the open play from private vehicular access at the alley.
Shifted volumes delineate private space from the open public areas. The second floor extends over the public entryway to create a covered procession with cascading steps into the southern yard that traverses the length of the living spaces. The public program expands beyond the building enclosure to encompass the yard and living spaces. A horizontal shift in the ground floor volume produces both a private courtyard away from the lively public spaces and exterior delineation between private vehicular access and public entry.
Within the open, ground floor plan, a change in elevation indicates the boundary between private and public space. Custom millwork provides ample storage for the young family. Playful patterns of enclosed storage with contrasting display boxes creates a cohesive millwork language throughout the home.
E. F. San JuanNew Urban Luxury
Private Residence – Alys Beach, Florida
Architect: Khoury & Vogt Architects
Builder: BRW Builders of Destin
E. F. San Juan supplied all the interior and exterior wood millwork for this expertly designed residence adjacent to the snow-white dunes found in the serene New Urban townscape of Alys Beach, Florida.
Challenges:
The most significant design challenge of this project was to engineer a processing method to fabricate the complex millwork components in mass for the outdoor lounge. Khoury & Vogt Architects created a custom design for an inspiring and elegant outdoor living space. Fortunately, this house had a resourceful and creative team ensuring the vision of the design stayed intact.
Solution:
The intricate design required a creative approach which entailed high-level fabricating skills. “This project stands out in my mind because it required that I personally design and build numerous jigs,” says Edward San Juan. Taking on the challenge, San Juan designed and handcrafted each jig to the exact specification required for the exterior design.
The team at E. F. San Juan continued with the creative approach, integrating and assembling the custom jigs to produce a work of art. The millwork beautifully complements the sleek white design on the deep indoor-outdoor decks, allowing the feel of the surrounding nature to flow inside. The result is a breathtaking and inspiring New Urban home in a luxurious beach town along Scenic Highway 30-A.
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Photography by Jack Gardner
Neumann & Rudy Architecture## I. Spatial Composition & Architectural Volume
This is a compact urban salon organized with almost Miesian discipline around a single, decisive gesture: the L-configuration of low, tuxedo-armed banquette seating that hugs two perimeter walls and turns the room inward upon itself. The plan reads as a conversation pit without excavation—the seat heights are deliberately suppressed, the backs held low, so that the horizon of upholstery never competes with the aperture behind it. Above, a flat, unadorned plaster soffit-plane is held tight to the wall line, its perimeter reveal drawing a crisp shadow-gap that lets the ceiling appear to float free of the fabric-wrapped walls. The architectural protagonist is the millwork: a deep-jambed picture window recessed within a wide, radiused casing of pale rift-sawn oak, its returns thickened into a continuous window seat and low credenza that transitions seamlessly into flanking cabinetry. This joinery performs double duty as tectonic frame and furniture, resolving the corner where the sofa arm meets the wall with a fitted oak console rather than a leftover void. On the right, a taller oak portal—part case-goods, part passage—houses a monolithic dark media volume, its recessive blackness anchoring the composition's east edge and countering the pull of the glazing. Sightlines are carefully triangulated: the low furniture, the horizontal blind valance, and the parapet railing beyond stack into a series of registers that push the eye out over the rooftops, borrowing the cityscape as a fourth wall.
## II. Materiality, Color & Texture
The palette is a study in warm neutrality calibrated across a very narrow tonal band, where interest is generated by texture rather than chroma. Walls are sheathed in a woven grasscloth or linen-weave wallcovering in oatmeal-taupe, its subtle grain absorbing light and lending the envelope a matte, tactile softness that reads almost suede-like in raking illumination. Against this, the oak millwork supplies a honeyed mid-tone with visible cathedral figure, satin-lacquered rather than glossed, so the wood glows without reflecting. Upholstery is a heavy natural linen in flax, deeply channel-tufted and biscuit-quilted—an insistent geometry of dimples and seams that catches light and prevents the mass from flattening. The textile program is where the room permits itself wit: indigo-and-ecru ikat or resist-dyed pillows introduce the only true saturation and the only irregular, hand-made mark; a wool blanket-stripe cushion in wheat, dove, and slate mediates between them; and the tailored roman shade and pinch-pleat drapery, in a subtly striated ombré weave of bronze, sand, and pewter, act as a tonal bridge between wall and wood. Below, the field shifts cool—an abrasi or silk-and-wool rug in ink and petrol blue, overlaid with a sinuous ogee lattice in muted gold, whose viscose sheen produces directional shimmer against the room's otherwise matte disposition. Leather appears twice, in caramel-toned saddle upholstery on the twin benches and ottoman, its topstitched panels and strap-pull detailing offering the crispest edge in the room; the espresso-stained coffee table and plinths supply the necessary chromatic bass note. A single celadon-and-blush ceramic vessel, with its banded, glazed belly, functions as a deliberate polychrome accent—an object of arrested attention within a rigorously restrained field.
## III. Lighting, Atmosphere & Style Profile
Daylight is the primary luminaire and it is meticulously managed. The roman shade is dropped to roughly one-third, cropping the sky and glare while framing the mid-ground rooftops—a device that converts an ordinary window into a horizontal, cinematic panorama. Concealed cove or integrated LED lighting within the oak jamb washes the reveal from within, so the window surround reads as a self-illuminated frame and the transition from interior brightness to exterior daylight is softened rather than silhouetted; the same strategy grazes the wall panel behind the sofa, producing a gentle vertical gradient. Artificial light is otherwise almost entirely decorative and directional: a swing-arm wall sconce in antiqued brass with a domed, spun-metal shade cantilevers over the corner console, its low placement establishing a task-scaled pool of warmth and reinforcing the room's insistent horizontality. The resultant atmosphere is hushed, enveloping, and distinctly crepuscular—a lounge tuned for late-afternoon light and low conversation. Stylistically, the project synthesizes a mid-century modern armature—low-slung planar seating, tuxedo arms, brass and dark wood—with the tactile restraint of contemporary Warm Minimalism and a discernible strain of Japanese-influenced spatial editing: deep reveals, floating planes, an appreciation for the void, and objects placed with ikebana-like economy. One might classify it as Refined Urban Modernism, or a bespoke Warm Minimalism, in which luxury is expressed not through ornament but through the precision of joinery, the depth of the material palette, and the discipline with which the view is framed.
Antigua DoorsThis fun, yellow Dutch Door, created a nice contrast to the stark white paint. Client was looking for clean and simple lines, with a touch of character not found on mass produced doors.
Christopher Peacock, NJBench made, furniture quality cabinetry, with a contemporary twist. MOTRA provides the solution for those who desire a cleaner modern aesthetic, built to a standard far superior to the mass produced kitchen from Europe. Available in a wide variety of natural and stained wood finishes, as well as any paint color you desire MOTRA is equally at home in a modern city loft apartment or a suburban home.
Neumann & Rudy Architecture*Spatial Composition & Architectural Volume**
This terrace operates as an outdoor room in the fullest architectural sense: a discrete volume carved from the open air of the upper Manhattan skyline, its perimeter defined not by masonry but by a disciplined green architecture of clipped boxwood parterre hedging and multi-stemmed dogwood standards. The plan is organized on a clear axial logic — the rectilinear dining table sits centered on the sightline that threads between the flanking specimen trees and terminates in the middle distance on the Central Park tree canopy and the Columbus Circle towers beyond. That deliberate framing device is the composition's essential move: the trees function as proscenium, the hedge line as a low balustrade wall, and the powder-coated metal railing as a nearly dematerialized threshold, so the borrowed landscape is enlisted as the room's fourth elevation. Vertical enclosure is calibrated in three tiers — ground-plane ivy at ankle height, hedge and planter coping at seated eye level, and the airy tracery of tree canopy overhead — producing a ceiling plane implied rather than built, dappled and permeable. To the left, the load-bearing buff brick of the building's flank grounds the scheme with genuine architectural mass and reads as a masonry pilaster anchoring an otherwise open-sided plan, while at right a low stone-topped service console with recessed pull hardware and a monumental orb planter provides an asymmetrical counterweight, terminating circulation and articulating a secondary zone without interrupting flow. Large-format square paving, laid in a regular grid, provides the module against which all furniture placement is measured.
**Materiality, Color & Texture**
The material palette is restrained to a narrow tonal band of warm neutrals, allowing chlorophyll green to carry the scheme's entire chromatic charge. Underfoot, honed grey-taupe stone pavers offer a matte, slightly granular surface with a cool undertone; adjacent, the brick wall introduces a sandy, oatmeal-toned masonry with visible mortar coursing whose horizontality and faint striation supply the composition's only decorative pattern. Furniture is executed in a matte white or bone powder-coated aluminum frame with woven cord or resin-strap seat backs — an open basketweave that reads as textile rather than metal and softens the geometry with a hand-crafted grain. Cushions in pale greige linen-weave add a further degree of tactile compliance. Planters are dark bronze-toned metal, deliberately recessive so that mass reads as foliage rather than container, while the pale cast-stone orb planter introduces a sculptural, slightly chalky, faceted surface that catches light like unglazed ceramic. The horticultural texture work is the true material sophistication here: the tight, fine-leaved matte density of boxwood set against the broad, glossy, lacquer-like foliage of the ivy, and both played against the dogwoods' larger leaves already turning bronze, oxblood, and citron at the edges. The single note of saturation — a low, tightly massed arrangement of coral, apricot, and chartreuse blooms in a white cachepot — functions as a deliberate chromatic accent, keyed precisely to the autumnal leaf-turn overhead.
**Lighting, Atmosphere & Style Profile**
Natural light is the primary design instrument. The photograph captures a high, diffuse, slightly overexposed sky that renders the skyline in soft atmospheric perspective while raking light filters through the canopy to scatter mobile dappling across the paving — a chiaroscuro that animates an otherwise static geometry and shifts the room's character hourly. Artificial lighting is intentionally understated and architectural in intent: a suspended conical pendant in dark matte metal, hung at the right beneath the canopy, signals evening use and provides a small, precise silhouette against the ivy screen, while low-level integrated fixtures within planters and hedging would supply the subdued wash appropriate to a terrace that must never compete with the ambient glow of the city. The resulting atmosphere is one of considered seclusion — a green-walled cloister suspended above the metropolis, contemplative rather than performative. Stylistically, the project reads as Soft Minimalism in dialogue with a distinctly European, formal-garden discipline: the axial planning, clipped topiary, and standard-trained trees derive from classical parterre tradition, but they are executed with contemporary restraint — no ornament, no historicist detail, a single furniture gesture, a monochrome envelope. The synthesis might be termed Tailored Naturalism: an aesthetic in which rigorous geometry and a near-silent material palette exist precisely to give primacy to living texture, seasonal change, and the framed view.
Mr ShishirComputer numerical control or CNC machining is an automated manufacturing process used to make components of devices or appliances. It employs computer-aided software and codes to control complex machinery, including mills, grinders, lathes, and cutters. It is used to manufacture multiple parts from diverse raw materials such as aluminium, brass, acrylic, plastics, and wood.
It is a subtractive process in which a solid piece of material is carved into a 2D or 3D object of any shape or size. This enables the creation of prototypes for parts and finished products. It also enables automated mass production of parts such as fittings, housings, brackets, gears, fasteners, shafts, electrical contacts, and moulds using specific materials.
This process is a quick, safe, versatile, precise, and cost-effective production method. These advantages allow it to be used for various applications in industries ranging from healthcare and electronics to aerospace and the military. Moreover, it is used to create parts for several objects you use at home every day.
Here are 10 things in your house that you may not know are manufactured using CNC machining:
1. Kitchen Appliances
Several manufacturers employ CNC machines to create heavy-duty parts for durable kitchen appliances. Through pre-programmed software, the machine produces parts of different shapes, sizes, colours, and textures using a variety of materials like metals and plastic.
CNC-machined components of kitchen appliances include metal plates, covers, textured handles, pins, rings, and wires. These small but essential parts improve the utility of your everyday kitchen appliances such as the electric can opener, dishwasher, hand blender, grinder, and coffee brewing machine.
2. Electronic Devices
Components of electronic devices are usually small in size and have fine details and shapes that require precision machining. CNC machines offer the flexibility and efficiency to manufacture large and small parts of various shapes, sizes, and materials required to complete electronic appliances.
CNC machining enables accurate, computerized prototyping and the production of detailed, intricate, and sensitive parts from a wide range of metals. It can be used to produce parts such as connectors, housing, wires, heat sinks, semiconductors, and fixtures. It can also be used to create the chassis or the framework of various electronic appliances.
You can find CNC-machined parts in the following electronic home appliances:
- Laptops and Computers
- Mobile phones
- Cameras
- Television
- Speakers
- Keyboard
- Mouse
- Router
- Refrigerator
- Air conditioner
- Washing machine
- Fans, air purifiers, and humidifiers
- Robotic vacuum cleaners
- Remote control
UserThe brightly colored DAW Chair Plastic (Dining height Armchair Wooden base), first designed in 1948, is one of the most recognizable pieces from E.’s furniture collection. It boasts a beautifully flowing shell seat, which is molded to fit the lines of the body. The rolled edge prevents the seat from pressing into the back of the legs. This triumph of design was created for the "Low Cost Furniture Design" Competition at the New York Museum of Modern Art and went on to become the first mass-produced plastic chair. The innovative methods of molding and bending, developed by the popular designer, established the DAW Chair series as a true furniture icon of the 20th century.
Poly+Bark produces the shell of this design classic in a quality plastic, available in several bright colors. It is supported by wooden legs interconnected by wires, adding an intricate touch to contrast with the chair’s simple, organic design. Poly+Bark is in no way affiliated with Charles and Ray Eames or Herman Miller.
Neumann & Rudy Architecture**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.
Drewett WorksThis Ranch Hacienda hillside estate boasts well over 13,000 square feet under roof. A loggia serves as the backbone for the design. Each space, both interior and exterior, has a direct response to the linear expression of outdoor space.
The exterior materials and detailing are rustic and simple in nature. The mass and scale create drama and correspond to the vast desert skyline and adjacent majestic McDowell mountain views.
Features of the house include a motor court with dual garages, a separate guest quarters, and a walk-in cooler.
Silverleaf is known for its embodiment of traditional architectural styles, and this house expresses the essence of a hacienda with its communal courtyard spaces and quiet luxury.
This was the first project of many designed by Architect C.P. Drewett for construction in Silverleaf, located in north Scottsdale.
Project Details:
Architecture | C.P. Drewett, AIA, DrewettWorks, Scottsdale, AZ
Builder | Sonora West Development, Scottsdale, AZ
Photography | Dino Tonn, Scottsdale, AZ
Caliper Farms Nursery and Landscape ServicesWe often talk about planting material en masse to produce brilliant swatches of color throughout the landscape. These daffodils do the job nicely as an understory to beautifully exfoliating Birch Trees. We plant bulbs in the fall and will happily incorporate them into any existing or "still on paper" landscape!
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Open Door FurnitureTook some experimenting but we were finally able to apply the perfect methods to produce a result we were thrilled with. This 1.5 inch thick walnut is steam bent and in laid with maple wedges. We have not seen anything like this anywhere on the market. This takes a lot of patience and you will never see this mass produced.
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STUDIO 3087, VadodaraExpressing the thoughts and emotions through the language of shades.
A formal collusion of masses producing sequences of space creating calmness within.
Indian sitting - wrapping up the travelling skin into the constant skin.
Design Team - Ar. Manish shah,
Schoen D'Lyma.
Photography - Tejas Shah.
Alloy Homes IncorporatedThe walkout basement features a heat-producing built-in wood stove that is encased in a solid concrete thermal mass. When heated, the mass of the surround radiates heat into the home for several hours.
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