This kitchen was fabricated by The Beveled Edge! Check out their work: https://bevelededge.net This kitchen's countertops have Madura Gold granite with a polished finish.. Search "madura gold" granite, see more granite of this family or other stone options: http://www.stoneaction.com Learn more about granite to see if it’s right for you: Granite countertops can last a lifetime. It contains no harmful chemicals and do not emit harmful radiation or gasses. Granite is heat resistant and is one of the most heat-resistant countertops on the market. You can place a hot pan out of the oven directly onto the countertop surface. Experts do recommend the use of a trivet when using appliances that emit heat for long periods of time, such as crockpots. Since the material is so dense, there is a small possibility heating one area of the top and not the entire thing, could cause the countertop to crack. Granite is scratch resistant. You can cut on it, but it will dull your knives! Granite scores a seven on Moh’s hardness scale. Granite countertops are considered to be a low maintenance countertop surface. The likelihood of needing to be repaired or resurfaced is low. Granite is a porous material. Most fabricators will apply a sealer to granite countertops before they are installed which will protect them from absorbing liquids too quickly. Many sealers last more than 10 years before needing to be reapplied. When they do need to be reapplied, it is something that most homeowners can do on their own as the process is similar to cleaning. Darker granites are very dense and sometimes don’t even require a sealer. When it comes to pricing, there are a lot of variables such as edge profile, total square footage, backsplash, etc. Don’t be fooled by the stereotype that all granite is expensive. Lower-range granites will cost less than high-range laminate. Though granite countertops are not considered “low range” in pricing, there are a lot of affordable options. If you are looking for something truly unique, consider an exotic granite. Some quarries are not easily accessible and/or only able to be quarried for short periods of time throughout the year. If these circumstances exist in a quarry with gorgeous stone, the price will be driven upward. You won’t find a lot of solid patterns or bright colors, but both do exist. Also, watch for a large range of color and pattern within the same color of stone. It’s always a good idea to view the exact slab(s) that will be fabricated for your kitchen to make sure they are what you expected to see from the sample. Another factor is that many exotic types of granite have huge flowing waves, and a small sample will not be an accurate representation of the whole slab. Granite countertops are very resistant to chemicals. Acids and bases will not harm the material.

I recently visited a customer living in the village of Ravensthorpe, just outside Northampton to rejuvenate a 15-year-old multi coloured Chinese riven slate floor that needed a deep professional clean. Slate is a hard-wearing tile used for flooring high traffic areas but does need sealing to bring out its best features. In this case the sealer had long since worn off and dirt had become ingrained in the stone making it difficult to clean effectively. We discussed the client’s requirements and the cleaning process I planned to follow to rejuvenate the floor. I had to check on availability, so I e-mailed over a quote and some dates later that day. They were happy with my proposal and agreed for the work to be done whilst the customers were on holiday. My first task was to test a small area to determine which products would give the best results. In this case, I decided to start with a strong dilution of Tile Doctor Remove and Go which is a strong alkaline cleaner/coatings remover that’s safe to use on Tile and Stone. I spread this solution across a section of the floor and left it to seep into the pores of the stone and lift out the ingrained dirt. After allowing the solution adequate time to dwell, I scrubbed the slate with a carbon brush fitted to a rotary machine to gradually reveal the fantastic natural colours of the Slate hidden beneath the dirt. Happy with my choice of cleaning product I repeated this process in sections until it had been carried out throughout the entire area. Following this, I rinsed the entire floor several times with clean water, before soaking up the resulting soiled residue with a wet vacuum. The next part of the cleaning process entailed paying attention to the grout lines which were scrubbed using Tile Doctor Grout Clean-Up. The resulting residue was promptly extracted with the wet vacuum and I finished by giving the whole floor a rinse with Tile Doctor pH Neutral Tile Cleaner. This is a day to day tile cleaning product which is recommended for stone floors, many supermarket tile cleaning products are only suitable for ceramic tiles due to their acidic formula and can damage a floor over years of use so you should always read the label. However, I always leave my clients with a complimentary bottle of a suitable Tile Doctor product to maintain their floors. The floor was left to dry off overnight and I returned on the second day to seal the floor. Before starting I checked the floor was dry using a damp meter which confirmed the Slate was dry and ready to seal. The floor must be completely dry before sealing as any excess moisture has the potential to the damage the performance of the sealer. Since my client had specifically requested a silk finish, I opted to use Tile Doctor Seal and Go which dries to leave a lovely subtle sheen that really enhances the look of the stone. Five coats were applied to ensure a good hard-wearing protection. My client was very pleased with the results, particularly as they hadn’t realised how much colour it had lost over the years and left the following feedback on our website. ”I despaired of having a clean-looking floor again. Phil Vissian assured me that intensive deep cleaning and resealing could restore our fifteen year old, subtly coloured, Chinese riven slate kitchen floor. He has done a fantastic job. Looks like new, and I shall book Phil for an annual professional clean, so that it never gets as bad again.” Sally M, Northampton Phil Vissian Northamptonshire Tile Doctor

Inspiration for a transitional home design remodel in Minneapolis

Custom designed refreshment center for billiards room. Materials: Belgian Chocolate melamine with Thermofoil fronts and high pressure laminate countertop. Designed, manufactured and installed by Valet Custom Cabinets - Campbell, CA. Special thanks to homeowners for allowing us to photograph.

Located in Burgh Castle West of Great Yarmouth, this Travertine stone floor was a classic example of an incomplete installation. By incomplete I mean the tiler had done a fine job of laying and grouting the tiles but had left it at that and not sealed the stone. Natural stone like Travertine is porous and needs a sealer to stop dirt becoming ingrained in its pores, a sealer will also improve its appearance. Without a sealer this floor now looked very dull, pale, rather damaged with pitting and heavily soiled with ingrained dirt. Pitting in stone like this is a natural feature of Travertine however it can be exacerbated with the use of acid cleaning products. This was a floor in urgent need of a face lift, and I was confident it could be transformed into a very beautiful floor. I think it is true to say that most tilers will skilfully lay a floor for you but usually don’t have the knowledge, experience or equipment to finish the surface properly and when it comes to sealing many will recommend a product and suggest you take care of it yourself. Naturally if your find yourself in that position don’t insist the tiler does it, better to give us a call and have it done properly. Our first job was to backfill the larger pits in the stone which as I mentioned are a natural feature of travertine material, but they can trap dirt and so its best if they are plugged with a suitably rigid filler. Also, if left alone the larger holes can quickly become larger as their edges crumble and break up leading to the entire tile becoming unstable. Replacing a tile in a floor like this is possible however its an extremely awkward job to do and it can be difficult to find an exact match for replacement. Filling was done using a two-part, neutral cream-coloured polyester compound which gels in about fifteen minutes after addition of the catalyst. After this initial period, the excess product is trimmed off level with the surface of the tile before it sets harder than the stone itself in around sixty minutes. The fully cured compound can then be cut and machined as though it were part of the stone structure. Our second job was to remove deep scratches caused by the unprotected feet of workmen’s ladders. This was done using Tile Doctor 50-grit and 100-grit diamond hand burnishing pads with a little water as a cutting medium. Shallower scratching present across the rest of the floor was removed using a Tile Doctor 200-grit soft milling pad driven by our Klindex 17″ rotary machine. This abrasive action produces a fine slurry which was then rinsed with water and extracted using our 400psi Ninja machine in preparation for the next stage of the refinishing process. These machines were an expensive investment for our business however they are very robust and effective producing a good result that saves time. Next task was to restore the polished appearance of the Travertine which was done using the application of a set of Tile Doctor burnishing pads. The process starts by applying a coarse 400-grit diamond pad, again fitted to the Klindex rotary machine. This cleans the tile and improves the matt finish left by the milling pad; again, the slurry was rinse-extracted before moving on to the next pad in the set. Next came the finer diamond polishing stages of 800 grit and 1500 grit, slurry being removed as before between the grades. By this time, all the scratches had been removed and the Travertine floor had visually pleasing even sheen across the whole surface. The last pad in the set is applied dry with a little water sprayed onto the tile so we left the area to dry out thoroughly overnight with the assistance of our large capacity dehumidifier. Returning the following morning, we found that the floor had dried out perfectly and was ready to be vacuumed and spray burnished with the last pad in the set which is a 3000-grit very fine pad applied using a small amount of water sprayed from a trigger bottle resulting in a deep, rich shine across the floor surface. Last step in the face lift was to seal the floor with a generous coat of Tile Doctor Ultra-Seal, a premium grade penetrating sealer recommended for use in Kitchens and food preparation areas. Having left the floor to soak up as much of the Tile Doctor Ultra-Seal as it could, the excess product was removed and the whole area allowed to dry completely with the assistance of our industrial air moving fan. Finally, the floor was spray buffed to a deep shine using a white maintenance pad. The client was extremely pleased with our results and was amazed at the variation of colours within the stone which had never been visible previously. Nick White Norfolk Tile Doctor

**I. Spatial Composition & Architectural Volume** The image frames a primary bathroom vanity zone through a deliberately compressed aperture — the vertical edge of a rift-sawn oak door jamb occupying the left third of the frame, functioning as a proscenium that stages the composition beyond. This device establishes a layered sightline sequence: foreground threshold, mid-ground vanity plane, and a tertiary reflected depth revealed in the mirrored cabinetry, where a travertine-clad shower enclosure and polished nickel showerhead appear as a spatial echo. The result is an interior that reads as considerably more expansive than its actual footprint, a classic strategy of volumetric borrowing through specular surfaces. Architecturally, the wall is resolved as a single continuous joinery composition — a full-height run of flush-fronted oak millwork with mirrored upper cabinet fronts, articulated only by hairline reveals rather than applied hardware or framing. This shadow-gap detailing establishes rhythm through negation, allowing the plane to remain monolithic while acknowledging its constituent modules. The vanity itself is conceived as a solid stone monolith, a thick-slab plinth with a generous mitred apron that cantilevers over recessed oak drawer fronts below, the base set back to create a shadowed float line. Geometry throughout is orthogonal and rectilinear: the square undermount basin, the deck's stepped perimeter, the horizontal datum of the backsplash terminating precisely at the mirror's lower edge. The only curvilinear intrusions are the capsule-form sconces and the ceramic vessel, deliberate soft counterpoints within an otherwise strictly Cartesian field. **II. Materiality, Color & Texture** The palette is a study in tonal adjacency rather than contrast — a restrained duet of oak and veined stone, held within a narrow chromatic band of taupe, greige, and warm sand. The joinery appears to be quarter- or rift-sawn white oak in a matte, open-grain finish, its tight vertical figure reading as a subtle striation that lends verticality and tactile warmth without pattern-making. Against this, the stone — a silver travertine or vein-cut quartzite with pronounced linear striation — provides the composition's dominant graphic energy. Crucially, the fabricator has book-matched and continued the veining from backsplash to deck to apron, so the stone's fluvial banding reads as a single geological event rather than assembled panels. This vein-matching is the project's most consequential craft decision. Textural interplay is calibrated across three registers: the low-sheen absorbency of the oak, the honed, slightly chalky matte of the stone, and the high-specularity of polished nickel fittings. The wall-mounted lever taps and spout, with their crisp escutcheons and knurl-free tapered levers, introduce a jewel-like precision — cool-toned metal against warm mineral. The white porcelain basin functions as a chromatic pause, the palette's only true neutral. Accent moments are equally disciplined: a ribbed ceramic soap dish holding a block of butter-yellow soap, and a matte bone-white bottle vase carrying hellebores in acid-green — a single saturated note that activates the surrounding earth tones through complementary tension. **III. Lighting, Atmosphere & Style Profile** Natural light enters obliquely and is largely inferred rather than depicted: a soft, diffuse wash across the upper mirror and a pale ceiling plane glimpsed in reflection suggest a clerestory or adjacent glazing beyond the frame. The primary illumination is architectural and task-oriented — two opal glass capsule sconces in polished nickel, surface-mounted directly to the mirrored fronts. Their pill-shaped diffusers emit a soft, omnidirectional glow that flatters skin tones and, critically, provides cross-lighting at facial height rather than the unflattering top-down wash of downlights. The reflected sconce in the mirror doubles the light count perceptually, reinforcing the sense of symmetry and depth. Shadow is used compositionally: the recessed toe of the vanity, the reveal lines in the joinery, and the raking light across the stone's striation all rely on controlled darkness to describe form. The resulting atmosphere is one of hushed, tactile luxury — sensory rather than declarative. Stylistically, the project sits within a contemporary Warm Minimalism, inflected with the material gravity of Milanese modernism and traces of a Japandi sensibility in its reverence for grain, joinery reveals, and the studied placement of a single floral gesture. There is nothing decorative in the additive sense; ornament is entirely subsumed into material and detail. The design's authority derives from restraint and fabrication rigor — the mitre, the reveal, the vein-match — positioning it as a mature exercise in what might be called quiet monumentality: a small room made consequential through the discipline of its surfaces.

Ever notice how your iron fence looks more rust than paint after another brutal Chicago winter? That is usually the moment homeowners start searching for a painting contractor who actually understands metal - not just someone who will brush a coat of black paint over active corrosion and call it done. At Windy City Painters, iron fence restoration is one of our most requested services on the North Side and Near West Side, and for good reason. These fences are old, they are beautiful, and they deserve a proper finish system. PROJECT OVERVIEW This project involved a full ornamental iron fence on a North Side greystone property. The fence was original to the building - likely installed in the 1910s or 1920s - and had gone through multiple paint cycles without any rust conversion work. By the time Windy City Painters arrived, the horizontal rails showed active pitting, the vertical spindles had surface rust under lifting paint, and two corner posts had minor joint separation. The homeowner wanted the fence restored to a sharp satin black finish that would hold through multiple Chicago winters. MATERIALS AND PRODUCTS Ospho Rust Converter - phosphoric acid formula that chemically neutralizes iron oxide and converts it to iron phosphate, a stable paintable surface. Used on all pitted and actively corroded areas before primer application. Rust-Oleum DTM Rust-Inhibitive Primer - direct-to-metal primer that bonds to both converted rust zones and bare metal, blocking moisture intrusion at the substrate level. Sherwin-Williams DTM Acrylic Topcoat - flexible, moisture-resistant finish formulated to expand and contract with metal through temperature cycling. Applied in two finish coats in satin black. For cases with deeper rust penetration, Corroseal Water-Based Rust Converter and Metal Primer is an alternative that combines conversion and priming in a single product, useful on complex ornamental profiles where two-product systems are harder to apply. THE PROCESS Step 1 - Mechanical Preparation. Windy City Painters wire-wheels all loose rust, flaking paint, and scale using angle grinders fitted with wire wheel attachments. On heavily pitted sections, needle gun descaling is used to reach rust in tight ornamental grooves. This step is non-negotiable. No coating bonds reliably to iron oxide, and skipping this step is the single most common reason iron fence paint fails within a year. Step 2 - Rust Conversion. Ospho is brushed into all pitted and bare metal areas and allowed to fully react. The surface shifts from orange to a grayish-black iron phosphate layer. This stable base accepts primer without the risk of rust migrating upward through the paint film over time. Step 3 - Primer Coat. Rust-Oleum DTM rust-inhibitive primer is applied full coverage over the entire fence surface, including areas that appeared clean but showed minor surface oxidation. DTM primer acts as a moisture barrier and mechanical adhesion layer for the finish coats. Step 4 - Finish Coats. Two coats of Sherwin-Williams DTM acrylic topcoat are applied in satin black, with adequate dry time between coats. The DTM formula remains flexible after cure, allowing the iron to expand and contract through Chicago temperature swings without the topcoat cracking or peeling at joints. CHICAGO-SPECIFIC CHALLENGES Ornamental iron on Chicago greystones, two-flats, and Victorian brownstones was almost never hot-dip galvanized. It was painted from installation and has relied on continuous paint maintenance ever since. Chicago winters add specific stress: freeze-thaw cycles force water into any paint film crack, expanding it; road salt spray elevates corrosive chloride exposure; and humidity during spring thaw keeps metal surfaces wet for extended periods. This combination accelerates rust spread beneath paint films that appear intact on the surface. WHAT TO EXPECT LONG-TERM A properly prepped and primed iron fence finished with a DTM topcoat system should hold 5-8 years in Chicago conditions before any touch-up is warranted. Annual inspection of joints, welds, and areas near grade level will catch early moisture entry before it becomes a larger rust issue. Windy City Painters recommends scheduling touch-up earlier rather than waiting for full paint failure to protect the prep investment. PRO TIPS Tip 1 - Address joint separation before painting. If fence rails have separated at welds or mechanical joints, water will enter and rust will restart from inside the connection point regardless of the exterior coating. Flag any separated joints for welding before any paint system is applied. Tip 2 - Never use latex house paint on iron fences. Standard exterior latex lacks the adhesion and flexibility for bare metal. Always use a product labeled DTM or specify a rust-inhibitive primer underneath any finish coat applied to iron. Tip 3 - Paint in late spring or early fall. Iron fences exposed to full sun in peak summer heat can reach surface temperatures that cause solvent-based coatings to blister during application. Ideal application conditions are 50-85 degrees Fahrenheit with low humidity and no direct intense sun on the metal surface. Learn more about iron fence painting cost in Chicago and schedule your free estimate at windypainters.com FAQ Q: What does iron fence painting cost in Chicago? A: Windy City Painters typically prices residential iron fence painting at $8-$18 per linear foot. Variables include rust severity, spindle density, ornamental profile complexity, and whether rust conversion products like Ospho or Corroseal are required before priming. Q: Can you paint over rust without grinding it off first? A: No. Windy City Painters always performs mechanical prep before any coating. Wire wheel grinding removes loose scale and flaking paint. Rust converters handle residual oxidation chemically. Skipping this step means the new paint film will delaminate within one season. Q: How do I know if my iron fence needs a welder before painting? A: Windy City Painters inspects all joints and rail connections during the estimate. Rail separation, cracked welds, or sections that flex when pressed indicate structural issues that should be welded before any paint system is applied to avoid reopening at stress points. Q: What is the difference between Ospho and Corroseal? A: Both are rust converters. Ospho is a phosphoric acid solution applied as a separate step before priming, giving maximum control over conversion and primer selection. Corroseal combines conversion and primer in one product, which works well on complex ornamental profiles where a two-step system is harder to apply evenly. Q: How long does the paint last on an iron fence in Chicago? A: With full mechanical prep, rust conversion, DTM primer, and two DTM topcoats, Windy City Painters clients typically see 5-8 years of performance before touch-up is needed, even through Chicago freeze-thaw cycling and road salt exposure. Q: Do you paint iron fences that are still structurally sound but heavily rusted on the surface? A: Yes. Surface rust, even heavy pitting, does not necessarily indicate structural failure. Windy City Painters evaluates each fence individually. As long as the metal is sound under the rust, proper mechanical prep and a rust converter restore the surface to a paintable condition.

Landscape by Kim Rooney Fire, Water, Wood, & Rock - A Northwest modern garden for family and friends
Inspiration for a mid-sized modern partial sun backyard concrete paver water fountain landscape in Seattle with no cover.

Hot tub - large southwestern backyard brick and rectangular lap hot tub idea in Phoenix

damian
Inspiration for a timeless bathroom remodel in Atlanta

BC-BAR-BW-POL
Bathroom - modern bathroom idea in New York

Inspiration for a mid-sized timeless gray tile and stone tile marble floor bathroom remodel in Los Angeles with an undermount sink, furniture-like cabinets, white cabinets, marble countertops, a two-piece toilet and green walls

Photo by Roehner + Ryan
Southwestern exterior home idea in Phoenix

Stainless Steel Mosaic tile is the best mirror tile in the kitchen, we
Small minimalist single-wall porcelain tile and brown floor kitchen pantry photo in Chicago with recessed-panel cabinets, tile countertops, gray backsplash, mirror backsplash, stainless steel appliances, an island and gray countertops

Example of a minimalist front yard concrete staircase design in Toronto

This 30" x 24" abstract acrylic painting has been done in shades of cobalt blue, sky blue, citrine, chartreuse, white, soft sea green, and royal blue. Finished in gloss varnish to protect the piece from dust and UV light for years to come. Can be hung vertically or horizontally. Gorgeous vivid rich colors in a great contemporary style.

We chose recycled glass as a subtly colorful infill for the fire pit. (Photography by Paul Dyer)
This is an example of a contemporary landscaping in San Francisco.

Statuary Classique Quartz countertops are elegant, durable, and require no maintenance. This quartz that looks like marble is ideal for busy kitchens and baths in both homes and residential properties. The soothing white background and marble-like veins make this the perfect choice for kitchen countertops, waterfall islands, accent walls, floors, showers, and other features where the look of marble is desired.

Example of a small transitional kids' gray tile and ceramic tile ceramic tile and white floor alcove shower design with shaker cabinets, blue cabinets, a two-piece toilet, gray walls, an undermount sink, quartz countertops and a hinged shower door