Located in the heart of Manhattan’s Lower East Side, the building was erected on a shallow commercial lot between two 120 year old masonry buildings and a new residential rental building. 330 Grand Street is a mix of 725 SF 1BRs and 1050 SF 2BR apartments. It also contains a 1100 SF two story duplex as well as private and public rooftop space, large private balconies for most units and two large private terraces for the ground floor units. 330 Grand Street was originally designed and approved at the NYC DOB as a prefabricated modular building. During the pandemic, as shipping costs skyrocketed putting the project at risk, we suggested redesigning the building as a reinforced cast-in-place concrete structure. Concrete was readily available and prices had not been affected by the demand increase that many other materials suffered in the pandemic. We took this opportunity to raise floor to ceiling heights, enlarge high performance windows and redistribute the buildings MEPFS and Structural Systems to create very open floor plans. The challenge was to create a luxurious sensorial living experience with very limited means. In a city with very high construction costs, low cost residential buildings in the area are usually devoid of good quality, design and character. Our approach was to aim high for the end user, prioritizing natural light, open space with long visual perspectives, high ceilings and as always, rejecting the use of predefined building templates. Our biggest challenge was to ensure that the small spaces feel as clean cut, large and bright as possible. Several unique design decisions were made to ensure low cost and high quality; Floor plans were laid out so that spaces were wide open and free of clutter from mechanical or structural interruptions. Therefore all infrastructure was placed in lateral demising walls, which in turn act as the unit’s storage and kitchen. The apartments feel wide open, are super quiet and have more storage space than any other comparable apartment in the city. To solve the problem of the site’s shallow commercial lot which is typically prone to dark interior spaces we focused our attention on the building’s envelope. Instead of the usual small punched window openings, oversized high performance windows were designed to ensure that light penetrated as far as possible into the units. In the smaller 1BR units, the full 50’ depth of the lot is perceived by partitioning spaces with sliding pocket doors that can be retracted to allow deep visual perspectives, making the sight lines in the space feel longer, larger, more ample than normal. In addition to the full height glazing, each unit above the 2nd floor receives a 7 foot covered balcony, adding 120 to 240 sf to each apartment, something unusual in New York City buildings. The space is large enough for a full size dining table, when the weather permits being outside. We also worked hard to ensure modularity. For example, all kitchen units are all identical throughout the building. The idea of modularity and the economy of the repetitive unit is exercised to the maximum through the building. Hardware, appliances, flooring, wall coverings and material finishes are all carefully selected to feel bespoke, high quality and unique. It was important to KURV that the result of this work manifest into something that would deeply connect with the end user and sustain relationships with the consumers of this space. All images by KURV Architecture ©

Located in the heart of Manhattan’s Lower East Side, the building was erected on a shallow commercial lot between two 120 year old masonry buildings and a new residential rental building. 330 Grand Street is a mix of 725 SF 1BRs and 1050 SF 2BR apartments. It also contains a 1100 SF two story duplex as well as private and public rooftop space, large private balconies for most units and two large private terraces for the ground floor units. 330 Grand Street was originally designed and approved at the NYC DOB as a prefabricated modular building. During the pandemic, as shipping costs skyrocketed putting the project at risk, we suggested redesigning the building as a reinforced cast-in-place concrete structure. Concrete was readily available and prices had not been affected by the demand increase that many other materials suffered in the pandemic. We took this opportunity to raise floor to ceiling heights, enlarge high performance windows and redistribute the buildings MEPFS and Structural Systems to create very open floor plans. The challenge was to create a luxurious sensorial living experience with very limited means. In a city with very high construction costs, low cost residential buildings in the area are usually devoid of good quality, design and character. Our approach was to aim high for the end user, prioritizing natural light, open space with long visual perspectives, high ceilings and as always, rejecting the use of predefined building templates. Our biggest challenge was to ensure that the small spaces feel as clean cut, large and bright as possible. Several unique design decisions were made to ensure low cost and high quality; Floor plans were laid out so that spaces were wide open and free of clutter from mechanical or structural interruptions. Therefore all infrastructure was placed in lateral demising walls, which in turn act as the unit’s storage and kitchen. The apartments feel wide open, are super quiet and have more storage space than any other comparable apartment in the city. To solve the problem of the site’s shallow commercial lot which is typically prone to dark interior spaces we focused our attention on the building’s envelope. Instead of the usual small punched window openings, oversized high performance windows were designed to ensure that light penetrated as far as possible into the units. In the smaller 1BR units, the full 50’ depth of the lot is perceived by partitioning spaces with sliding pocket doors that can be retracted to allow deep visual perspectives, making the sight lines in the space feel longer, larger, more ample than normal. In addition to the full height glazing, each unit above the 2nd floor receives a 7 foot covered balcony, adding 120 to 240 sf to each apartment, something unusual in New York City buildings. The space is large enough for a full size dining table, when the weather permits being outside. We also worked hard to ensure modularity. For example, all kitchen units are all identical throughout the building. The idea of modularity and the economy of the repetitive unit is exercised to the maximum through the building. Hardware, appliances, flooring, wall coverings and material finishes are all carefully selected to feel bespoke, high quality and unique. It was important to KURV that the result of this work manifest into something that would deeply connect with the end user and sustain relationships with the consumers of this space. All images by KURV Architecture ©

THE DOOR NAME ORIGIN - "ALLUMINIO ELIVIA PAINT 4HS" One feature of this interior door model stands out among all others, to wit, the fact that here at Almese Doors we can work with pretty much any kind of budget. Allow me another intriguing observation: this one (this interior door, that is) is best suited to bulk orders. Which isn’t to say this one does not fall into the category of affordable luxury (just something we specialize in here at Almese Doors). It certainly does. It has most of the wonderful features characteristic of the brand to recommend it. It was lovingly and imaginatively designed. The name, should you be wondering, is a variation of that of the lovable, honest and faithful Shakespearean heroine (the play, of course, would be The Twelfth Night, one of the happiest and light-hearted comedies the bright British wordsmith ever composed, and arguably the most popular). Only natural wood is used to put it together, which is both aesthetically pleasant and env... Show more! FINISH: WHITE This is a bit tricky. Isn’t White the default finish that would look great on any interior door? Well, not quite. W. is the color most often associated with perfection, honesty, cleanliness, newness, neutrality, and exactitude. The pigment has been known and used by humans since prehistoric times. In ancient Egypt, W. symbolized purity. Roman patricians paraded around in W. togas to distinguish themselves from the common folk. It was the color of choice of French monarchs. Architects of all epochs used W., with considerable enthusiasm, in various projects and for various reasons. In the United States, architects favored it when designing churches, capitols, and municipal buildings – which is, in fact, a tradition they inherited from classical and Renaissance architecture. According to some experts, most of the buildings in the celebrated Forum were either made of, or clad in, W. marble. In Taoism, it represents the yang or masculine energy, one of the two complementary natures of the universe. Many authors, both classical and contemporary, have referred to W. as a sign of purity, either physical (like William Shakespeare, whose treacherous usurper monarch wishes a heavenly rain would cleanse his blood-stained hand, washing it “white as snow”) or spiritual (like Tennessee Williams, who named his lead character Blanche (derived, incidentally, from the Germanic word blanc)) as a symbol of her innocent child-like spirit, perceptible from the moment she makes her first entrance (through the interior door stage-left). Back in the Seventeenth Century, Sir Isaac Newton discovered that sunlight is composed of light with wavelengths across the visible spectrum which the human eye perceives as W. It is the lightest of the spectrum, and achromatic (hue-less) to boot, because it fully reflects and scatters all visible wavelengths of light, absorbing none. W. objects stand out in the dark. Depending on the surroundings, an interior door with W. finish might come off as emphatic or tactful, dominant or complementary. It blends seamlessly into most types of decor and, once the owner’s needs and disposition are taken into account, can symbolize - oh, so many different things, while bringing back a myriad memories: from those glorious snowy Alpine slopes and peaks to the fluffy tops of the wayward herd of cumulus cloud heap over the horizon on a balmy afternoon in the Caribbean. Tropical sand beaches are W. due to the high quantity of calcium carbonate they get from tiny bits of seashells ground to powder by the waves. In a number of cultures W. can also symbolize festivity, and be used lavishly to brighten up weddings, birthdays, and anniversaries. It is beautiful. Make sure it goes well with your interior door model, though.

Contrast in the Kitchen – Texture to Taste in a Grand Junction, CO custom home We normally associate texture with food, clothes, and even sound. In reality, it is a part of every aspect of our lives. In our Grand Junction, Appleton, Fruita, Palisade, and Redlands, Colorado homes, texture lives on everything from our walls to washcloths. It isn’t something we normally consider holistically or view with intent. While designing interiors, texture becomes our way to bring visual interest and emotion into the space. Adding textures to a space invites touch and evokes an understanding of the design intent. Materials like linen and wood can be combined to make a space feel streamlined yet cozy. Leather and velvet can be paired to create a luxurious retreat. In one of our recent projects, our clients had a distinct vision for their new kitchen and outdoor custom home living spaces. They were in need of a design that combined their kitchen, living, and outdoor spaces into a seamless oasis for their everyday routines. Their home has a unique architectural voice and they wanted to emphasize the character that was already there. Blending textures and colors throughout this project was how everything remained cohesive and spirited. The purpose of contrasting materials We used contrasting materials in the cabinetry to distinguish between the perimeter – high gloss – and the natural gathering space – maple. By contrasting the soft nature of maple in the cabinets and in the flooring with the harder textures of concrete and steel, we were able to offset the space’s tendency to feel like an alpine cabin. However, using contrasting textures does not always provide a dynamic interior. The high-gloss cabinets function as a vessel for various textures. They take on whatever happens to be reflected in them, bringing in elements from unexpected sources. The function of texture Along with rich black hardware, the unique backsplash adds an element of handcrafted care that naturally draws your eye throughout the space. The unevenness of each tile provides the space with intentional imperfections, giving it life and visual delight. Textures like these are great conversation starters or simply eye candy. To extend their living and dining spaces to the exterior, our clients also updated the numerous decks around the home, as well as the cladding. This gave us the opportunity to develop a texture and color story for their exteriors. Considering finishes in a location as distinctive as the Western Slope can either be viewed as a challenge or an opportunity. We have the desert, evergreen groves, riversides, and snowstorms to glean inspiration from while designing. For us, utilizing palettes that compliment the home’s natural surroundings is crucial. This home happens to live on a densely wooded plot of land with mature trees providing plenty of shade. This backdrop informed our color selections, while the existing architecture drove the material selections. The wood decking adds warmth, the horizontal cream siding brightens, the gray cedar leaves a part of the original architectural intent, and the green entry wall adds drama. The existing beams were left original because it is difficult to find materials that match the grandeur of the home. Recognizing good design Next time you walk into a well-designed custom home and immediately feel at ease, take some time to notice why you may be feeling that way. The subtlety of blending textures and colors can have a profound impact on how a space is perceived. You can see some of our other design projects here.

This is a compact, pre-war urban parlor handled with the confidence of a much larger room, and its success rests on a disciplined negotiation between rectilinear architecture and curvilinear furnishings. The volume is defined by two competing datum lines: a substantial dropped beam and soffit bridging the left-hand window wall, and the crisp stepped architrave of the fireplace surround opposite, which projects into the room as the primary architectural event. That mantel—executed in tiered, chamfered planes with a shallow reveal and a honed black stone hearth extending as a cantilevered shelf—reads as a stripped-classical or Art Deco–inflected aedicule, its symmetry anchoring the seating plan. Circulation is organized on a diagonal: the long axis established by the low, tight-back sofa beneath the fenestration is intercepted by the oval mahogany cocktail table, whose ellipse dissolves the room's orthogonal grid and permits comfortable passage on all sides. Sightlines are deliberately layered—the gilt mirror above the mantel captures a reflected register of the opposing wall's cornice, drapery, and framed art, effectively doubling the perceived depth of the plan and admitting borrowed light. The furniture is uniformly low-slung, an intentional strategy that preserves headroom and visually raises the ceiling plane, while the exposed leg profiles (turned casters, tapered mahogany posts, square-section table legs) keep the floor plane continuous and the composition buoyant rather than freighted. The palette is a masterclass in tonal modulation within a narrow chromatic band—warm ivory plaster walls with a faintly pinkish undertone provide the neutral ground against which a family of golds, ochres, and honeyed camels is arranged in ascending saturation. The sofa's cut velvet in a deep saffron-caramel is the room's chromatic keystone, echoed in the club chair at right and moderated by two temperature-shifting accents: sage and moss velvet cushions that introduce a cool, desaturated counterpoint, and a damask-woven celadon slipper chair with matching ottoman whose subtle jacquard relief supplies pattern without noise. Textiles are stratified by pile depth and light response—the matte, slightly slubbed linen of the box-pleated pelmet and floor-length panels absorbs light, while the velvets refract it, producing that characteristic gilded bloom along the seat rolls and cushion edges. Against these soft goods, the designer sets three hard, contrasting registers: the French-polished mahogany table, whose figured, mirror-like top functions as a horizontal reflector; the water-gilded, deeply carved acanthus mirror frame, its burnished high points offering the room's only true metallic brilliance; and the patinated bronze bulldog andirons and blackened firebox, which supply necessary chromatic weight. Underfoot, a coarse woven sisal or seagrass rug provides the essential textural antithesis—dry, granular, and vernacular—as do the loose-woven rush baskets flanking the window, grounding the room's refinement in something agrarian and unpretentious. Daylighting is generous but rigorously controlled: the twin windows are filtered through translucent roller blinds that diffuse direct sun into an even, high-key wash, and the pelmet with its softly gathered box pleats crops the aperture to conceal hardware and reinforce the horizontal. The result is a luminous, almost overexposed north-facing quality along the left flank that gradates into softer shadow at the hearth wall—a chiaroscuro that gives the room its sense of depth and repose. Artificial illumination is deliberately architectural and understated rather than decorative: a swing-arm picture light above the abstract framed work at left, a second slim picture light on the return wall, and an articulating chrome task/floor lamp with a polished conical shade positioned to serve the reading corner. Notably, there is no central fixture; the strategy is entirely peripheral and layered, calibrated for evening intimacy at cushion height. Stylistically, the room synthesizes into what one might call Restrained American Traditionalism, or more precisely a Warm Modern Classicism—the vocabulary of a New York or London town-house drawing room, edited of clutter and pattern, retaining the ceremonial gestures (gilt overmantel mirror, tailored drapery, symmetrical hearth) while adopting modernist restraint in silhouette, chromatic economy, and the absence of ornament on the case goods. The reference points span Deco, Regency, and mid-century upholstery forms, yet the assembly feels neither eclectic nor historicist. It is, instead, a quietly authoritative interior—luxurious in material and light, ascetic in gesture, and calibrated for daily habitation rather than display.

The photograph is composed as a deliberate enfilade study, framing the dining room through a deep, mahogany-cased cased opening that functions as both proscenium and threshold. This heavy portal — with its substantial reveal, plinth-like jambs and crisply mitered head casing — establishes a strong rectilinear armature that compresses the foreground and, by contrast, releases the eye into the luminous volume beyond. The plan reads as a classic pre-war apartment sequence: an axial sightline runs from the gallery floor, across the field of the dining room, and terminates at the window wall, where a curtained bay borrows daylight from the street. The ceiling is articulated by shallow beam drops or applied soffits — a coffer-adjacent treatment that registers the building's structural grid while lending the room a subtle sense of enclosure and datum. Geometry is orchestrated around opposing figures: the orthogonal rigor of casings, valance, beam lines and picture frames set against the centralized circular table, whose radial symmetry anchors the room's midpoint directly beneath the chandelier. Furnishings are held in a loose, non-touching arrangement, with generous circulation clearance at the perimeter, so that the room's volume — rather than its contents — remains the primary subject. Secondary sightlines to the left, toward a mirrored console and gilt-framed panel, and to the right, toward a picture-lit artwork, quietly widen the perceived footprint and imply adjacent rooms beyond the frame. The material narrative is built on a controlled tonal ascent from dark to light. The foreground is dominated by richly figured, warm-red mahogany millwork and a chevron-laid oak parquet whose bleached, honeyed grain reads with a slight gray wash — a directional pattern that visually propels the viewer toward the interior. Within the dining room, the palette shifts to a low-saturation envelope of chalky off-white plaster walls and putty-toned textiles: floor-length linen or silk-blend drapery panels with a faint slubbed weave, gathered beneath a tailored, flat-front upholstered valance whose crisp horizontal band imparts an atelier precision. Underfoot, a natural sisal or seagrass rug with a linen tape border introduces a coarse, granular tactility that grounds the refined upholstery above; its woven, matte texture is deliberately calibrated against the smoother satin sheen of the dining chairs' subtly striped fabric. The room's tonal fulcrum is the antique carved pedestal table — a near-black, deeply modeled Anglo-Indian or Colonial Revival piece whose pierced apron, scrolled tripod base and paw feet supply the composition's only ornamental exuberance and its darkest value. Accents are chosen for restraint: silvered leaf on the console's fretwork facing, water-gilt on the framed panel, polished nickel or silver on the chandelier and the flower vessel, and the cool white of massed oriental lilies. Undertones remain uniformly warm — greige, ecru, taupe, oatmeal — with cool relief supplied only by the metals and the daylight itself. Lighting is layered with quiet discipline. Natural light enters as a diffused, north-facing wash through a sheer-veiled window, its intensity softened by roller or Roman shading so that the glazing reads as a luminous plane rather than a view; this creates a gentle contre-jour that silhouettes the chandelier and the table's carved base. The multi-arm chandelier — a silvered, pagoda-crested fixture with slender candle sleeves and faceted drops — serves as sculptural punctuation more than as a working source, its warm 2700K glow registering as ambient sparkle. Accent illumination is deployed with curatorial intent: a picture light grazes the framed work at right, while the recessed downlights and the darkened foreground casings produce a chiaroscuro that heightens the sense of arrival. The cumulative atmosphere is one of hushed formality — composed, aerated, and almost monastic in its refusal of visual noise. Stylistically, the room synthesizes into what might be termed Transitional Classicism, or Warm Neutral Modern Traditional: the bones and millwork are unmistakably pre-war Beaux-Arts-derived, yet the flat-front valances, unadorned wall planes, natural-fiber flooring and simplified parson-back chairs reflect a contemporary editorial sensibility. The single antique table operates as a considered anachronism — a note of patinated gravitas within an otherwise pared-back, texturally driven interior — demonstrating a designer's confidence in restraint punctuated by one authoritative gesture.

Laser-cut shower screen
Inspiration for a small modern backyard landscaping in Philadelphia.

Riad Tile
Bathroom - contemporary cement tile floor and pink floor bathroom idea in Santa Barbara

**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.

The master bath features stunning views of Puget Sound. The glass walls between the bath and hall have a hand-drawn etched glass pattern. Photo: Benjamin Benschneider

Inspiration for a mid-sized transitional gray tile and subway tile light wood floor alcove shower remodel in Atlanta with white walls

Detail of Iridescent Venetian plaster finish on all walls in Living Room by Christianson Lee Studios
Example of a transitional home design design in New York

Inspiration for a contemporary hallway remodel in Chicago

Claire Esparros, Homepolish
Example of an eclectic bedroom design in Seattle

Pinnacle Mountain Homes ©Darren Edwards Photographs
Example of a transitional kitchen/dining room combo design in Denver with white walls

Solar Luminance – Semi-Custom Daylight Light Fixture Model#: DLF-152 Style: Semi-Flush Pendant Finish: Powder Coat Matte Black Shade(s): (1) Large Fabric Drum Shade with Gold Paper Backing and (4) Laura Beige Linen Clip-On Shades *Note: Price does not include Daylight Tube Product and/or Installation Semi-Custom Product Shipment Lead Time: 6-10 Weeks* The Solar Luminance DLF-152, is an Architectural Element Transitional Semi Flush Pendant, designed to assist the home owner, retail location and/or office location, the ability to benefit from Natural Daylight available with Tubular Skylight systems, while also reflecting your custom interior design and décor theme and needs. Natural Daylight provides incredible mental and physical health and wellness benefits that help the human body and mind maintain a sense of time, absorb natural vitamins, and work with the human eye to perceive color and definition in clarity and contrast to increase visual awareness. Our hope is that your friends, colleagues and guests will be “Inspired & Design” in a way that is both elegant and considerate of the impact we have on the earth and its resources. The DLF-152 is a Semi-Custom Fixture. Full Custom Versions and Options are available for price quote. Please feel free to contact a Solar Luminance Design Assistant for Full Custom Options. Product Specification (List Price based on the following) Over All Dimensions: Over All Height: 25” Shade Dims: 10” H. X 24” Dia. – Large Fabric Drum Shade with Gold Paper Backing Drop Length: 12” Column Sleeve Diameter: 11 3/4” Dia. Center Wireway: (1) 3/8” Dia. Wireway Hangers: (4) Medium Oval Standard Chain (3 and 4 Hanger Options Available) (Chain available in Various Size Options, pricing may vary) Lamping Specification Daylight Tube System*: 10” Dia. Daylight Tube System – Includes Dome, Flashing, 8’-0” Length of Tube Extension, Tube Manufacturer provided Installation, Product and Installation Warranty 10” Diameter Tube provides the Equivalent of (10) 100Watt White Lamps Secondary Lamping Canopy Lamping: (1) 1.8 Watts (Per Foot) - 48”L. - LED Flex Strip, 5,000K - 12 Volts DC (Lamp Life: 50,000 Hour Rating) Candelabra Lamping: (4) 3.5Watt LED Candelabra Based Screw in Torpedo Warm White Bulbs, 120v 2700K (25Watt Equiv.) (Provided by Solar Luminance) Finish Specification and Materials Metal Finish: Powder Coat Matte Black (Available in other Color Options – Some Color Options may require a price adjustment) Shade(s): Shown with (1) Large Fabric Drum Shade with Gold Paper Backing and (4) Laura Beige Linen Clip-On Shades (Available in other Color Options – Some Color Options may require a price adjustment) Glass Diffuser: Clear Glass (Sandblasted Interior) (Not Tempered) Product Notes Daylight Tubular Product is Supplied and Installed by Tube Product Manufacturer. Tube Product Manufacturer is responsible for all Product, Installation, Warranty, and Service of Tube Related issues. Solar Luminance is not responsible for any errors and/or omissions related the tube related issues that may arise. Solar Luminance will assist in sourcing a local and/or regional Daylight Tubular Product Supplier and Installer, to assist with Roof and Ceiling inspection and Tube supply and Installation. Solar Luminance is not responsible for the Tube Installers quality of work or service. All Secondary Electrical must be performed by a Licensed and/or certified Electrician and/or General Contractor. Solar Luminance is not responsible for the Installation of the fixture. Solar Luminance is not responsible for any errors and/or omissions, damaged and or fault or injury caused by the general contractor. Shipping and Payments Shipping and/or Freight is the responsibility of the purchaser. Solar Luminance will supply a quote based on the fixture size, weight, crating method and delivery location, prior to commencement of fabrication and production. All Finishes and Semi-Custom Modifications must be Signed and Approved via the Solar Luminance Client Approval Drawings, in order for your Custom Daylight Light Fixture to begin Fabrication and Production. Any and all Price adjustments and shipping and/or freight must be paid in full prior to shipment of product. Semi-Custom Product Shipment Lead Time is estimated at 6-10 Weeks, to begin upon receipt of all of the following: • Receipt of full payment • Receipt of signed & approved Client Approval Drawings • Receipt and Confirmation of Approved Finish and Materials • And Verification and Approval of All Price adjustments for Custom Modifications and Shipping and/or Freight Cost Return Policy Product must be inspected upon arrival and receipt of product, at the designated delivery location. Any damage must be reported to Solar Luminance in a written statement of reported damage, by email (Sales@SolarLuminance.com), along with dated and time stamped photo documentation of reported damage. Report of product damage must emailed within 24 hours of receipt of product. Solar Luminance will work with Purchaser and/or Purchasers Agents, to replace and/or fix any damaged and/or missing parts in a timely manner. If damage occurs and/or is reported beyond the 24 hour reporting period Solar Luminance maintains no liability and/or responsibility for the product and/or its condition. Solar Luminance does take pride in our work, craftsmanship, and product, so we do promise to provide exceptional support in remedying any situation that may arise related to your fixture. We do promise to do all that we can to make you happy with your Custom Solar Luminance Daylight Light Fixture. Please feel free to contact us with any Questions or Concerns you may have. Sales@SolarLuminance.com (855) 687-6233 A California based company.

Kaihani wanted to create a space that reminded her of Hawaii. A vacation getaway in her own backyard. We revamped the pool, adding a flowing water feature and glowing stones. We resurfaced the deck with hardy Ipe wood and travertine. And we created a cozy seating area next to an elegant fire pit. To get to Hawaii, Kaihani only has to step out her back door. It's breath taking...it's like being back home in Hawaii. Melissa Wright

Solar Luminance – Semi-Custom Daylight Light Fixture Model#: DLF-150 Style: Semi-Flush Pendant Finish: Powder Coat Matte Black *Note: Price does not include Daylight Tube Product and/or Installation Semi-Custom Product Shipment Lead Time: 6-10 Weeks* The Solar Luminance DLF-150, is an Architectural Element Transitional Semi Flush Pendant, designed to assist the home owner, retail location and/or office location, the ability to benefit from Natural Daylight available with Tubular Skylight systems, while also reflecting your custom interior design and décor theme and needs. Natural Daylight provides incredible mental and physical health and wellness benefits that help the human body and mind maintain a sense of time, absorb natural vitamins, and work with the human eye to perceive color and definition in clarity and contrast to increase visual awareness. Our hope is that your friends, colleagues and guests will be “Inspired & Design” in a way that is both elegant and considerate of the impact we have on the earth and its resources. The DLF-150 is a Semi-Custom Fixture. Full Custom Versions and Options are available for price quote. Please feel free to contact a Solar Luminance Design Assistant for Full Custom Options. Product Specification (List Price based on the following) Over All Dimensions: Over All Height: 22” Shade Dims: 10” H. X 24” Dia. – ¾” Metal Trim with 1” Opening Square Weld Metal Mesh Drop Length: 12” Column Sleeve Diameter: 11 3/4” Dia. Center Wireway: (1) 3/8” Dia. Wireway Hangers: (4) Medium Oval Standard Chain (3 and 4 Hanger Options Available) (Chain available in Various Size Options, pricing may vary) Lamping Specification Daylight Tube System*: 10” Dia. Daylight Tube System – Includes Dome, Flashing, 8’-0” Length of Tube Extension, Tube Manufacturer provided Installation, Product and Installation Warranty 10” Diameter Tube provides the Equivalent of (10) 100Watt White Lamps Secondary Lamping Canopy Lamping: (1) 1.8 Watts (Per Foot) - 48”L. - LED Flex Strip, 5,000K - 12 Volts DC (Lamp Life: 50,000 Hour Rating) Candelabra Lamping: (4) 3.5Watt LED Candelabra Based Screw in Torpedo Warm White Bulbs, 120v 2700K (25Watt Equiv.) (Provided by Solar Luminance) Finish Specification and Materials Metal Finish: Powder Coat Matte Black (Available in other Color Options – Some Color Options may require a price adjustment) Glass Diffuser: Clear Glass (Sandblasted Interior) (Not Tempered) Product Notes Daylight Tubular Product is Supplied and Installed by Tube Product Manufacturer. Tube Product Manufacturer is responsible for all Product, Installation, Warranty, and Service of Tube Related issues. Solar Luminance is not responsible for any errors and/or omissions related the tube related issues that may arise. Solar Luminance will assist in sourcing a local and/or regional Daylight Tubular Product Supplier and Installer, to assist with Roof and Ceiling inspection and Tube supply and Installation. Solar Luminance is not responsible for the Tube Installers quality of work or service. All Secondary Electrical must be performed by a Licensed and/or certified Electrician and/or General Contractor. Solar Luminance is not responsible for the Installation of the fixture. Solar Luminance is not responsible for any errors and/or omissions, damaged and or fault or injury caused by the general contractor. Shipping and Payments Shipping and/or Freight is the responsibility of the purchaser. Solar Luminance will supply a quote based on the fixture size, weight, crating method and delivery location, prior to commencement of fabrication and production. All Finishes and Semi-Custom Modifications must be Signed and Approved via the Solar Luminance Client Approval Drawings, in order for your Custom Daylight Light Fixture to begin Fabrication and Production. Any and all Price adjustments and shipping and/or freight must be paid in full prior to shipment of product. Semi-Custom Product Shipment Lead Time is estimated at 6-10 Weeks, to begin upon receipt of all of the following: • Receipt of full payment • Receipt of signed & approved Client Approval Drawings • Receipt and Confirmation of Approved Finish and Materials • And Verification and Approval of All Price adjustments for Custom Modifications and Shipping and/or Freight Cost Return Policy Product must be inspected upon arrival and receipt of product, at the designated delivery location. Any damage must be reported to Solar Luminance in a written statement of reported damage, by email (Sales@SolarLuminance.com), along with dated and time stamped photo documentation of reported damage. Report of product damage must emailed within 24 hours of receipt of product. Solar Luminance will work with Purchaser and/or Purchasers Agents, to replace and/or fix any damaged and/or missing parts in a timely manner. If damage occurs and/or is reported beyond the 24 hour reporting period Solar Luminance maintains no liability and/or responsibility for the product and/or its condition. Solar Luminance does take pride in our work, craftsmanship, and product, so we do promise to provide exceptional support in remedying any situation that may arise related to your fixture. We do promise to do all that we can to make you happy with your Custom Solar Luminance Daylight Light Fixture. Please feel free to contact us with any Questions or Concerns you may have. Sales@SolarLuminance.com (855) 687-6233 A California based company.

Solar Luminance – Semi-Custom Daylight Light Fixture Model#: DLF-149 Style: Semi-Flush Pendant Finish: Brushed Nickel *Note: Price does not include Daylight Tube Product and/or Installation Semi-Custom Product Shipment Lead Time: 6-10 Weeks* The Solar Luminance DLF-149, is an Architectural Element Transitional Semi Flush Pendant, designed to assist the home owner, retail location and/or office location, the ability to benefit from Natural Daylight available with Tubular Skylight systems, while also reflecting your custom interior design and décor theme and needs. Natural Daylight provides incredible mental and physical health and wellness benefits that help the human body and mind maintain a sense of time, absorb natural vitamins, and work with the human eye to perceive color and definition in clarity and contrast to increase visual awareness. Our hope is that your friends, colleagues and guests will be “Inspired & Design” in a way that is both elegant and considerate of the impact we have on the earth and its resources. The DLF-149 is a Semi-Custom Fixture. Full Custom Versions and Options are available for price quote. Please feel free to contact a Solar Luminance Design Assistant for Full Custom Options. Product Specification (List Price based on the following) Over All Dimensions: Over All Height: 22” Shade Dims: 10” H. X 24” Dia. – ¾” Metal Trim with 1” Opening Square Weld Metal Mesh Drop Length: 12” Column Sleeve Diameter: 11 3/4” Dia. Center Wireway: (1) 3/8” Dia. Wireway Hangers: (4) Medium Oval Standard Chain (3 and 4 Hanger Options Available) (Chain available in Various Size Options, pricing may vary) Lamping Specification Daylight Tube System*: 10” Dia. Daylight Tube System – Includes Dome, Flashing, 8’-0” Length of Tube Extension, Tube Manufacturer provided Installation, Product and Installation Warranty 10” Diameter Tube provides the Equivalent of (10) 100Watt White Lamps Secondary Lamping Canopy Lamping: (1) 1.8 Watts (Per Foot) - 48”L. - LED Flex Strip, 5,000K - 12 Volts DC (Lamp Life: 50,000 Hour Rating) Candelabra Lamping: (6) 3.5Watt LED Candelabra Based Screw in Torpedo Warm White Bulbs, 120v 2700K (25Watt Equiv.) (Provided by Solar Luminance) Finish Specification and Materials Metal Finish: Brushed Nickel (Available in other Color Options – Some Color Options may require a price adjustment) Glass Diffuser: Clear Glass (Sandblasted Interior) (Not Tempered) Product Notes Daylight Tubular Product is Supplied and Installed by Tube Product Manufacturer. Tube Product Manufacturer is responsible for all Product, Installation, Warranty, and Service of Tube Related issues. Solar Luminance is not responsible for any errors and/or omissions related the tube related issues that may arise. Solar Luminance will assist in sourcing a local and/or regional Daylight Tubular Product Supplier and Installer, to assist with Roof and Ceiling inspection and Tube supply and Installation. Solar Luminance is not responsible for the Tube Installers quality of work or service. All Secondary Electrical must be performed by a Licensed and/or certified Electrician and/or General Contractor. Solar Luminance is not responsible for the Installation of the fixture. Solar Luminance is not responsible for any errors and/or omissions, damaged and or fault or injury caused by the general contractor. Shipping and Payments Shipping and/or Freight is the responsibility of the purchaser. Solar Luminance will supply a quote based on the fixture size, weight, crating method and delivery location, prior to commencement of fabrication and production. All Finishes and Semi-Custom Modifications must be Signed and Approved via the Solar Luminance Client Approval Drawings, in order for your Custom Daylight Light Fixture to begin Fabrication and Production. Any and all Price adjustments and shipping and/or freight must be paid in full prior to shipment of product. Semi-Custom Product Shipment Lead Time is estimated at 6-10 Weeks, to begin upon receipt of all of the following: • Receipt of full payment • Receipt of signed & approved Client Approval Drawings • Receipt and Confirmation of Approved Finish and Materials • And Verification and Approval of All Price adjustments for Custom Modifications and Shipping and/or Freight Cost Return Policy Product must be inspected upon arrival and receipt of product, at the designated delivery location. Any damage must be reported to Solar Luminance in a written statement of reported damage, by email (Sales@SolarLuminance.com), along with dated and time stamped photo documentation of reported damage. Report of product damage must emailed within 24 hours of receipt of product. Solar Luminance will work with Purchaser and/or Purchasers Agents, to replace and/or fix any damaged and/or missing parts in a timely manner. If damage occurs and/or is reported beyond the 24 hour reporting period Solar Luminance maintains no liability and/or responsibility for the product and/or its condition. Solar Luminance does take pride in our work, craftsmanship, and product, so we do promise to provide exceptional support in remedying any situation that may arise related to your fixture. We do promise to do all that we can to make you happy with your Custom Solar Luminance Daylight Light Fixture. Please feel free to contact us with any Questions or Concerns you may have. Sales@SolarLuminance.com (855) 687-6233 A California based company.