Custom Built by Hatcliff Construction Photo Courtesy of Solomon Davis
Example of an arts and crafts bathroom design in Nashville

Living room - country living room idea

Jim Scmid
Inspiration for a transitional family room remodel in Charlotte

Hallway - rustic hallway idea in Portland Maine

Architecture by Emeritus | Interior Design by Elizabeth Norris Design | Build by Norris Building Co. | Photo by Tom G. Olcott
Entryway - coastal entryway idea

Master Bedroom features a peaceful soft color palette for relaxation. Antique Asian armoire accents the room, along with a lounge chair and ottoman to read by the window. Sliding closet barn doors lead into the ensuite master bath room.

Example of a cottage loft-style carpeted and beige floor family room library design in Salt Lake City with beige walls and no fireplace

Eat-in kitchen - mid-sized coastal l-shaped light wood floor, multicolored floor and shiplap ceiling eat-in kitchen idea with an undermount sink, flat-panel cabinets, white cabinets, quartzite countertops, gray backsplash, marble backsplash, paneled appliances, an island and blue countertops

Custom TV/Fireplace wall & Beverage Center. Photo By: Landre Photogrpahy
Example of a mid-sized transitional underground laminate floor and brown floor basement design in Milwaukee with white walls, a standard fireplace and a wood fireplace surround

Inspiration for a large transitional walk-out vinyl floor, brown floor and brick wall basement remodel in St Louis with a bar and gray walls

Example of a large classic wooden l-shaped mixed material railing staircase design with painted risers

Awesome Norristown PA bi-level home remodel. We gutted the whole first level of this home down to the bare bones. We redesigned the space to an open floorplan. New structural framing, insulation, windows and doors, and all mechanicals were relocated and improved. Lighting! Lighting! Lighting! everywhere and it makes all the difference. Led lighting and smart switches were used for up lighting above cabinetry, task lighting under cabinetry, general room lighting, accent lighting under bar top, and all decorative fixtures as well. The kitchen was designed around a central island with elevated seating that is designed around the new structural columns required to open the whole area. Fabuwood cabinetry in Galaxy Horizon finish make up the perimeter cabinets accented by Galaxy Cobblestone finish used for the island cabinetry. Both cabinetry tones coordinate perfect with the new Luxury vinyl plank flooring in Uptown Chic Forever Friends. I’ve said it before and I’ll say it again. Luxury vinyl is Awesome! It looks great its ultra durable and even water proof as well as less expensive than true hardwood. New stair treads, railings, and posts were installed stained to match by us; giving the steps new life. An accent wall of nickel gap boards was installed on the fireplace wall giving it some interest along with being a great clean look. The recessed niche behind the range, the dry stacked stone tile at the islands seating area, the new tile entry in a herringbone pattern just add to all the great details of this project. The New River White granite countertops are a show stopper as well; not only is it a beautiful stone the installation and seaming is excellent considering the pattern of the stone. I could go on forever we did so much. The clients were terrific and a pleasure to work with. I am glad we were able to be involved in making this dream come true.

Ben Benschneider
Example of a trendy white tile and mosaic tile alcove bathtub design in Seattle with an undermount sink, flat-panel cabinets and light wood cabinets

Example of a mountain style home design design in Burlington

Basement - large transitional look-out vinyl floor and brown floor basement idea in St Louis with a bar and gray walls

Located in the distinctive lake front community of Draper Lake near Blue Mountain on 30A, northwest Florida. The community style is rustic lake house. The house design takes advantage of the unusual shape by using a screened porch connection between the main house and the carriage house. There is an abundance of windows on the lake side to take advantage of views to the lake and gulf beyond.

**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.