This new 3,600 SF 3 bedroom, 3 bathroom, two-story residence is located halfway between the heart of downtown Ithaca and Taughannock Falls State Park. The site has beautiful views of Cayuga Lake and is situated on the heavily traveled Route 89. Trade Design Build was hired for full design-build services, starting with site feasibility, concept design, permit and construction drawings, through construction. The slideshow above shows theses stages of the project, including photos of the completed exterior. Our clients purchased the tight one-acre lot with an existing condemned home onsite that needed to be demolished, and the site reimagined. They were looking for a simple, contemporary home with clean lines and quality materials, that maximized views of the lake. To meet these goals, the design team stretched the home out across the site and pushed all the habitable spaces to the lakeside of the home so that each space, including bathrooms, have an incredible view of Cayuga Lake. An access corridor on the roadside has the added benefit of buffering living spaces from the noise of the highway. To ensure clean lines and a contemporary feel, the team used simple forms on the interior and exterior. The simplicity of the rectangle and pitched roof allowed for higher quality windows, siding and metal roofing.

Kandinsky modern pillow cover composition cushion cover-Knowing that Kandinsky portrayed the soul as concentric circles, we see in this pillow cover, perhaps the eye of the soul or seeds and ovum. Gorgeous color swathes the cushion cover, a fusion of the hand-dyed Kashmiri wool and the expert needlework. The hand worked modern pillow cover is of the finest chainstitch, the stitch of an accomplished artisan, finer than crewel. The kaleidoscopic design deserves to be seen and experienced. This cover will be an attention-getter no matter where you put it. The Kashmir wool thread makes it soft to the touch, and the raised-swirl texture of the embroidery delights the senses. Composition: 70% Wool, 30% Cotton Size: 18' x 18' (45 cms x 45 cms) Pillow Insert not Included (Only Cover is on Sale) Hand embroidered in Village Cottage Units Backing: Canvas (See the Last Picture) A close-up view of this abstract pillow cover allows you to see the amazing chain-stitch embroidery work of master artisans who have practiced this art their entire lives.This abstract decorative pillow cover could grace the cabin of your boat or the chair in your solarium and yet be equally as comfortable in your den. The eye-popping color and pattern of this modern throw pillow are just what the designer ordered to create a fiery focal point in your decor. Perfect wherever you need a splash of color, this artwork pillow creation is as durable as it is beautiful. Easy to care for, this cushion cover could spark up an old throw pillow or grace a new pillow form. Kandinsky conveyed profound spirituality and inner human emotion through a visual language of abstract forms and colors that transcended cultural and physical boundaries. He used interrelation between color and form to create an aesthetic experience that engaged the sight, sound, and emotions of the viewer. Kandinsky viewed music as the most transcendent form of non-objective art musicians could evoke images in listeners‚ minds merely with sounds. He crafted spiritually rich paintings that alluded to sounds and emotions through sensations. Modern Artist Wassily Kandinsky used the form of concentric circles to portray the soul. Rendered here as chain stitch embroidery in wool, this cushion cover can create a new personality for any room in which you choose to use it. The eye-popping color and pattern of this modern throw pillow are just what the designer ordered to create a fiery focal point in your decor. Perfect wherever you need a splash of color, this artwork pillow creation is as durable as it is beautiful. Easy to care for, this cushion cover could spark up an old throw pillow or grace a new pillow form.

Kandinsky modern pillow cover composition cushion cover-Knowing that Kandinsky portrayed the soul as concentric circles, we see in this pillow cover, perhaps the eye of the soul or seeds and ovum. Gorgeous color swathes the cushion cover, a fusion of the hand-dyed Kashmiri wool and the expert needlework. The hand worked modern pillow cover is of the finest chainstitch, the stitch of an accomplished artisan, finer than crewel. The kaleidoscopic design deserves to be seen and experienced. This cover will be an attention-getter no matter where you put it. The Kashmir wool thread makes it soft to the touch, and the raised-swirl texture of the embroidery delights the senses. Composition: 70% Wool, 30% Cotton Size: 18' x 18' (45 cms x 45 cms) Pillow Insert not Included (Only Cover is on Sale) Hand embroidered in Village Cottage Units Backing: Canvas (See the Last Picture) A close-up view of this abstract pillow cover allows you to see the amazing chain-stitch embroidery work of master artisans who have practiced this art their entire lives.This abstract decorative pillow cover could grace the cabin of your boat or the chair in your solarium and yet be equally as comfortable in your den. The eye-popping color and pattern of this modern throw pillow are just what the designer ordered to create a fiery focal point in your decor. Perfect wherever you need a splash of color, this artwork pillow creation is as durable as it is beautiful. Easy to care for, this cushion cover could spark up an old throw pillow or grace a new pillow form. Kandinsky conveyed profound spirituality and inner human emotion through a visual language of abstract forms and colors that transcended cultural and physical boundaries. He used interrelation between color and form to create an aesthetic experience that engaged the sight, sound, and emotions of the viewer. Kandinsky viewed music as the most transcendent form of non-objective art musicians could evoke images in listeners‚ minds merely with sounds. He crafted spiritually rich paintings that alluded to sounds and emotions through sensations. Modern Artist Wassily Kandinsky used the form of concentric circles to portray the soul. Rendered here as chain stitch embroidery in wool, this cushion cover can create a new personality for any room in which you choose to use it. The eye-popping color and pattern of this modern throw pillow are just what the designer ordered to create a fiery focal point in your decor. Perfect wherever you need a splash of color, this artwork pillow creation is as durable as it is beautiful. Easy to care for, this cushion cover could spark up an old throw pillow or grace a new pillow form.

Stuart Wade, Envision Virtual Tours The second-largest and most developed of Georgia's barrier islands, St. Simons is approximately twelve miles long and nearly three miles wide at its widest stretch (roughly the size of Manhattan Island in New York). The island is located in Glynn County on Georgia's coast and lies east of Brunswick (the seat of Glynn County), south of Little St. Simons Island and the Hampton River, and north of Jekyll Island. The resort community of Sea Island is separated from St. Simons on the east by the Black Banks River. Known for its oak tree canopies and historic landmarks, St. Simons is both a tourist destination and, according to the 2010 U.S. census, home to 12,743 residents. Early History The earliest St. Simons Island Village record of human habitation on the island dates to the Late Archaic Period, about 5,000 to 3,000 years ago. Remnants of shell rings left behind by Native Americans from this era survive on many of the barrier islands, including St. Simons. Centuries later, during the period known by historians as the chiefdom era, the Guale Indians established a chiefdom centered on St. Catherines Island and used St. Simons as their hunting and fishing grounds. By 1500 the Guale had established a permanent village of about 200 people on St. Simons, which they called Guadalquini. Beginning in 1568, the Spanish attempted to create missions along the Georgia coast. Catholic missions were the primary means by which Georgia's indigenous Native American chiefdoms were assimilated into the Spanish colonial system along the northern frontier of greater Spanish Florida. In the 1600s St. Simons became home to two Spanish missions: San Buenaventura de Guadalquini, on the southern tip of the island, and Santo Domingo de Asao (or Asajo), on the northern tip. Located on the inland side of the island were the pagan refugee villages of San Simón, the island's namesake, and Ocotonico. In 1684 pirate raids left the missions and villages largely abandoned. Colonial History As Fort Frederica early as 1670, with Great Britain's establishment of the colony of Carolina and its expansion into Georgia territory, Spanish rule was threatened by the English. The Georgia coast was considered "debatable land" by England and Spain, even though Spain had fully retreated from St. Simons by 1702. Thirty-one years later General James Edward Oglethorpe founded the English settlement of Savannah. In 1736 he established Fort Frederica, named after the heir to the British throne, Frederick Louis, prince of Wales, on the west side of St. Simons Island to protect Savannah and the Carolinas from the Spanish threat. Between 1736 and 1749 Fort Frederica was the hub of British military operations along the Georgia frontier. A town of the same name grew up around the fort and was of great importance to the new colony. By 1740 Frederica's population was 1,000. In 1736 the congregation of what would become Christ Church was organized within Fort Frederica as a mission of the Church of England. Charles Wesley led the first services. In 1742 Britain's decisive victory over Spain in the Battle of Bloody Marsh, during the War of Jenkins' Ear, ended the Spanish threat to the Georgia coast. When the British regimen disbanded in 1749, most of the townspeople relocated to the mainland. Fort Frederica went into decline and, except for a short time of prosperity during the 1760s and 1770s under the leadership of merchant James Spalding, never fully recovered. Today the historic citadel's tabby ruins are maintained by the National Park Service. Plantation Era By the start of the American Revolution (1775-83), Fort Frederica was obsolete, and St. Simons was left largely uninhabited as most of its residents joined the patriot army. Besides hosting a small Georgia naval victory on the Fort Frederica River, providing guns from its famous fort for use at Fort Morris in Sunbury, and serving as an arena for pillaging by privateers and British soldiers, the island played almost no role in the war. Following the war, many of the townspeople, their businesses destroyed, turned to agriculture. The island was transformed into fourteen cotton plantations after acres of live oak trees were cleared for farm land and used for building American warships, including the famous USS Constitution, or "Old Ironsides." Although rice was the predominant crop along the neighboring Altamaha River, St. Simons was known for its production of long-staple cotton, which soon came to be known as Sea Island cotton. Between Ebos Landing the 1780s and the outbreak of the Civil War (1861-65), St. Simons's plantation culture flourished. The saline atmosphere and the availability of cheap slave labor proved an ideal combination for the cultivation of Sea Island cotton. In 1803 a group of Ebo slaves who survived the Middle Passage and arrived on the west side of St. Simons staged a rebellion and drowned themselves. The sacred site is known today as Ebos Landing. One of the largest owners of land and slaves on St. Simons was Pierce Butler, master of Hampton Point Plantation, located on the northern end of the island. By 1793 Butler owned more than 500 slaves, who cultivated 800 acres of cotton on St. Simons and 300 acres of rice on Butler's Island in the Altamaha River delta. Butler's grandson, Pierce Mease Butler, who at the age of sixteen inherited a share of his grandfather's estate in 1826, was responsible for the largest sale of human beings in the history of the United States: in 1859, to restore his squandered fortune, he sold 429 slaves in Savannah for more than $300,000. The British actress and writer Fanny Kemble, whose tumultuous marriage to Pierce ended in divorce in 1849, published an eyewitness account of the evils of slavery on St. Simons in her book Journal of a Residence on a Georgian Plantation in 1838-1839 (1863). Another Retreat Plantation large owner of land and slaves on St. Simons was Major William Page, a friend and employee of Pierce Butler Sr. Before purchasing Retreat Plantation on the southwestern tip of the island in 1804, Page managed the Hampton plantation and Butler's Island. Upon Page's death in 1827, Thomas Butler King inherited the land together with his wife, Page's daughter, Anna Matilda Page King. King expanded his father-in-law's planting empire on St. Simons as well as on the mainland, and by 1835 Retreat Plantation alone was home to as many as 355 slaves. The center of life during the island's plantation era was Christ Church, Frederica. Organized in 1807 by a group of island planters, the Episcopal church is the second oldest in the Diocese of Georgia. Embargoes imposed by the War of 1812 (1812-15) prevented the parishioners from building a church structure, so they worshiped in the home of John Beck, which stood on the site of Oglethorpe's only St. Simons residence, Orange Hall. The first Christ Church building, finished on the present site in 1820, was ruined by occupying Union troops during the Civil War. In 1884 the Reverend Anson Dodge Jr. rebuilt the church as a memorial to his first wife, Ellen. The cruciform building with a trussed gothic roof and stained-glass windows remains active today as Christ Church. Civil War and Beyond The St. Simons Island Lighthouse outbreak of the Civil War in 1861 put a sudden end to St. Simons's lucrative plantation era. In January of that year, Confederate troops were stationed at the south end of the island to guard the entrance to Brunswick Harbor. Slaves from Retreat Plantation, owned by Thomas Butler King, built earthworks and batteries. Plantation residents were scattered—the men joined the Confederate army and their families moved to the mainland. Cannon fire was heard on the island in December 1861, and Confederate troops retreated in February 1862, after dynamiting the lighthouse to keep its beacon from aiding Union troops. Soon thereafter, Union troops occupied the island, which was used as a camp for freed slaves. By August 1862 more than 500 former slaves lived on St. Simons, including Susie King Taylor, who organized a school for freed slave children. But in November the ex-slaves were taken to Hilton Head, South Carolina, and Fernandina, Florida, leaving the island abandoned. After the Civil War the island never returned to its status as an agricultural community. The plantations lay dormant because there were no slaves to work the fields. After Union general William T. Sherman's January 1865 Special Field Order No. 15 —a demand that former plantations be divided and distributed to former slaves—was overturned by U.S. president Andrew Johnson less than a year later, freedmen and women were forced to work as sharecroppers on the small farms that dotted the land previously occupied by the sprawling plantations. By St. Simons Lumber Mills 1870 real economic recovery began with the reestablishment of the timber industry. Norman Dodge and Titus G. Meigs of New York set up lumber mill operations at Gascoigne Bluff, formerly Hamilton Plantation. The lumber mills provided welcome employment for both blacks and whites and also provided mail and passenger boats to the mainland. Such water traffic, together with the construction of a new lighthouse in 1872, designed by architect Charles B. Cluskey, marked the beginning of St. Simons's tourism industry. The keeper of the lighthouse created a small amusement park, which drew many visitors, as did the seemingly miraculous light that traveled from the top of the lighthouse tower to the bottom. The island became a summer retreat for families from the mainland, particularly from Baxley, Brunswick, and Waycross. The island's resort industry was thriving by the 1880s. Beachfront structures, such as a new pier and grand hotel, were built on the southeastern end of the island and could be accessed by ferry. Around this time wealthy northerners began vacationing on the island. Twentieth Century The St. Simons Island Pier and Village opening in 1924 of the Brunswick–St. Simons Highway, today known as the Torras Causeway, was a milestone in the development of resorts in the area. St. Simons's beaches were now easily accessible to locals and tourists alike. More than 5,000 automobiles took the short drive from Brunswick to St. Simons via the causeway on its opening day, paving the way for convenient residential and resort development. In 1926 automotive pioneer Howard Coffin of Detroit, Michigan, bought large tracts of land on St. Simons, including the former Retreat Plantation, and constructed a golf course, yacht club, paved roads, and a residential subdivision. Although the causeway had brought large numbers of summer people to the island, St. Simons remained a small community with only a few hundred permanent residents until the 1940s. The St. Simons Island outbreak of World War II (1941-45) brought more visitors and residents to St. Simons. Troops stationed at Jacksonville, Florida; Savannah; and nearby Camp Stewart took weekend vacations on the island, and a new naval air base and radar school became home to even more officers and soldiers. The increased wartime population brought the island its first public school. With a major shipyard for the production of Liberty ships in nearby Brunswick, the waters of St. Simons became active with German U-boats. In April 1942, just off the coast, the Texas Company oil tanker S. S. Oklahoma and the S. S. Esso Baton Rouge were torpedoed by the Germans, bringing the war very close to home for island residents. Due in large part to the military's improvement of the island's infrastructure during the war, development on the island boomed in the 1950s and 1960s. More permanent homes and subdivisions were built, and the island was no longer just a summer resort but also a thriving community. In 1950 the Methodist conference and retreat center Epworth by the Sea opened on Gascoigne Bluff. In 1961 novelist Eugenia Price visited St. Simons and began work on her first works of fiction, known as the St. Simons Trilogy. Inspired by real events on the island, Price's trilogy renewed interest in the history of Georgia's coast, and the novelist herself relocated to the island in 1965 and lived there for thirty-one years. St. Simons is also home to contemporary Georgia writer Tina McElroy Ansa. Since Epworth by the Sea 1980 St. Simons's population has doubled. The island's continued status as a vacation destination and its ongoing development boom have put historic landmarks and natural areas at risk. While such landmarks as the Fort Frederica ruins and the Battle of Bloody Marsh site are preserved and maintained by the National Park Service, and while the historic lighthouse is maintained by the Coastal Georgia Historical Society, historic Ebos Landing has been taken over by a sewage treatment plant. Several coastal organizations have formed in recent years to save natural areas on the island. The St. Simons Land Trust, for example, has received donations of large tracts of land and plans to protect property in the island's three traditional African American neighborhoods. Despite its rapid growth and development, St. Simons remains one of the most beautiful and important islands on the Georgia coast.

Recently I was called to a house in the very small town of Marton in Warwickshire which is known for its proximity to the medieval “Marton Bridge”, which lies just to the north, crossing the River Leam. The entire downstairs flooring of my client’s house consisted of Quarry tiles apart from one room where the tiles had been covered by screed and then linoleum. Quarry tiles are a classic hard wearing tile used for both internal and external commercial and residential flooring due to its ability to withstand heavy usage. Reception areas, outdoor patios and porches, for example, are commonly tiled using Quarry. My client wanted to restore the covered floor back to its original state so that it would match the rest of the downstairs. Realising that this would be a complex and physically demanding task, my client decided to call in Tile Doctor to carry out the restoration. Removing the Linoleum covering was a relatively straightforward process, so I was able to do this relatively quickly. The main issue concerned removing the screed, which is far more difficult to remove, requiring a lot of physical scraping. Thus I opted to call in some extra manpower in the form of the Nottinghamshire Tile Doctor, Steve Carpenter. With the two of us armed with scrapers we set about removing the screed, taking extra care not to damage the Quarry tile underneath. Once Steve and I had scraped off as much of the screed as physically possible, I applied a strong dilution of Tile Doctor Remove & Go, a stripper with cleaning properties that is particularly effective at breaking down coatings such as adhesives, plasters and sealers. The product was left to dwell for ten minutes before I worked it into the stone with a scrubbing pad. After cleaning the tiles, I noticed a layer of grout haze on the surface of the exposed Quarry tiles, so I applied Tile Doctor Grout Clean-Up to remove it. Once the cleaning process was complete I gave the floor a thorough rinse with clean water, before soaking up the resulting residue with a wet-vac machine. The first day of work was a gruelling 12 hours long, but I was very pleased with the results and left the floor to dry overnight. On day two I returned to finish the job by sealing the newly uncovered Quarry tiles, but not before using a damp meter to check that they were completely dry. Any excess moisture left on unsealed tiles can potentially effect the performance of any sealers that are applied. I sealed the tiles using Tile Doctor Colour Grow, an impregnating, colour-enhancing sealer which gave the surface an aesthetically pleasing shine, as well as durable protection against dirt and wear for the future. After two long days of work the job was done and the transformation was fantastic and highly rewarding to see, the house now has a fantastic looking Quarry tiled floor running throughout the entirety of the lower level. Mick Gayton Warwickshire Tile Doctor

Jaap de Vries © 2016 - Houzz
Inspiration for a contemporary landscaping in Amsterdam.

Kandinsky pillow cover – In the flow- Star fragments and enigmatic hieroglyphs artfully stitched in this decorative pillow cover in finest Kashmir wool chainstitch needlework. Various tones of light browns, complement earthier tones of coral terra cotta and other tones of ivory, to recreate a design based on the work of influential Russian artist, Wassily Kandinsky.The exciting pattern evokes the thought of a ladder to the stars, a comet’s tail, or a star map. This cover could grace the cabin of your boat or the chair in your solarium and yet be equally as comfortable in your den. Durable and easy to clean, this toss pillow will catch the eye of every passerby. Composition: 70% Wool, 30% Cotton Size: 13? x 21? (33cm x 53cm) Pillow Insert not Included (Only Cover is on Sale) Hand embroidered in Village Cottage Units Backing: Canvas (See the Last Picture) View additional pictures to see the intricate embroidery done in highly stylized beautiful patterns and superb craftsmanship unparalleled in the whole world. A close-up view of this abstract pillow cover allows you to see the amazing chain-stitch embroidery work of master artisans who have practiced this art their entire lives.This abstract decorative pillow cover could grace the cabin of your boat or the chair in your solarium and yet be equally as comfortable in your den. The eye-popping color and pattern of this modern throw pillow is just what the designer ordered to create a fiery focal point in your décor. Perfect wherever you need a splash of color, this art work pillow creation is as durable as it is beautiful. Easy to care for, this cushion cover could spark up an old throw pillow or grace a new pillow form. Kandinsky conveyed profound spirituality and inner human emotion through a visual language of abstract forms and colors that transcended cultural and physical boundaries. He used interrelation between color and form to create an aesthetic experience that engaged the sight, sound, and emotions of the viewer. Kandinsky viewed music as the most transcendent form of non-objective art – musicians could evoke images in listeners’ minds merely with sounds. He crafted spiritually rich paintings that alluded to sounds and emotions through sensations. Modern Artist Wassily Kandinsky used the form of concentric circles to portray the soul. Rendered here as chain stitch embroidery in wool, this cushion cover can create a new personality for any room in which you choose to use it.

Ground One designed and built a deck off the back of the house for casual sitting, mirroring the house’s front porch. This deck and the screened porch steps descend to a patio terrace. To expand the entertaining space and accommodate the setback restrictions for a permitted gas firepit, we excavated the lot’s back slope to gain bonus space and create a rustic campfire spot. Large boulders found on the site during house construction are incorporated into a retaining wall. Colonial bluestone fills the gaps between these large accent stones and surrounds the firepit. Additional boulders hold up the patio and a slab of bluestone bridges the terrace and patio, preserving the overall drainage pattern. Bluestone is the common thread throughout the project, but it is used in different forms; clean lines closer to the house transition to a more weathered look as you move toward the natural area. The swale is a variety of boulder sizes and river rock to create a more visually-compelling creekbed. The firepit patio is comfortable for just two people, but can also accommodate a larger group. It is close to the dining space, but physical separation allows for entertaining in different configurations: pre-dinner cocktails around the fire, a roaring flame as backdrop during dinner, kids roasting marshmallows while the adults linger within sight at the dining table, or the gang huddled around a bonfire.

In every project we complete, design, form, function and safety are all important aspects to a successful space plan. For these homeowners, it was an absolute must. The family had some unique needs that needed to be addressed. As physical abilities continued to change, the accessibility and safety in their master bathroom was a significant concern. The layout of the bathroom was the first to change. We swapped places with the tub and vanity to give better access to both. A beautiful chrome grab bar was added along with matching towel bar and towel ring. The vanity was changed out and now featured an angled cut-out for easy access for a wheelchair to pull completely up to the sink while protecting knees and legs from exposed plumbing and looking gorgeous doing it. The toilet came out of the corner and we eliminated the privacy wall, giving it far easier access with a wheelchair. The original toilet was in great shape and we were able to reuse it. But now, it is equipped with much-needed chrome grab bars for added safety and convenience. The shower was moved and reconstructed to allow for a larger walk-in tile shower with stylish chrome grab bars, an adjustable handheld showerhead and a comfortable fold-down shower bench – proving a bathroom can (and should) be functionally safe AND aesthetically beautiful at the same time.

Ground One designed and built a deck off the back of the house for casual sitting, mirroring the house’s front porch. This deck and the screened porch steps descend to a patio terrace. To expand the entertaining space and accommodate the setback restrictions for a permitted gas firepit, we excavated the lot’s back slope to gain bonus space and create a rustic campfire spot. Large boulders found on the site during house construction are incorporated into a retaining wall. Colonial bluestone fills the gaps between these large accent stones and surrounds the firepit. Additional boulders hold up the patio and a slab of bluestone bridges the terrace and patio, preserving the overall drainage pattern. Bluestone is the common thread throughout the project, but it is used in different forms; clean lines closer to the house transition to a more weathered look as you move toward the natural area. The swale is a variety of boulder sizes and river rock to create a more visually-compelling creekbed. The firepit patio is comfortable for just two people, but can also accommodate a larger group. It is close to the dining space, but physical separation allows for entertaining in different configurations: pre-dinner cocktails around the fire, a roaring flame as backdrop during dinner, kids roasting marshmallows while the adults linger within sight at the dining table, or the gang huddled around a bonfire.

Often times some of the best features cannot be seen or captured on film. That is the case with this indoor water adventure. At Shehan Luxury Pools we know that some like to swim for exercise and others like to swim for pleasure - why not offer both? Hidden just to the right of the beach entry is a "Shehan" solution: A powerful commercial Swim-Jet. The purpose of the Swim-Jet is to provide a strong endless current of water. The result is an infinite swimming distance and duration in a location where space is limited. Problem solved! Now for pleasure and fun. Hidden by design, this pool sports a fast-glide, contoured free-form speed slide. The more adventurous guests board the slide from a set of simulated rock stairs located to the left of the waterfall area. After climbing fourteen feet in elevation, riders will launch themselves down a tube of pure exhilaration. Seconds later, the swimmers are saturated with hundreds of gallons of water carrying them quickly back to the tropical lagoon where they first began; and then do it all over again. If your goals are physical fitness, aesthetics, or family pleasure, the professionals at Shehan Luxury Pools will exceed your expectation.

Ground One designed and built a deck off the back of the house for casual sitting, mirroring the house’s front porch. This deck and the screened porch steps descend to a patio terrace. To expand the entertaining space and accommodate the setback restrictions for a permitted gas firepit, we excavated the lot’s back slope to gain bonus space and create a rustic campfire spot. Large boulders found on the site during house construction are incorporated into a retaining wall. Colonial bluestone fills the gaps between these large accent stones and surrounds the firepit. Additional boulders hold up the patio and a slab of bluestone bridges the terrace and patio, preserving the overall drainage pattern. Bluestone is the common thread throughout the project, but it is used in different forms; clean lines closer to the house transition to a more weathered look as you move toward the natural area. The swale is a variety of boulder sizes and river rock to create a more visually-compelling creekbed. The firepit patio is comfortable for just two people, but can also accommodate a larger group. It is close to the dining space, but physical separation allows for entertaining in different configurations: pre-dinner cocktails around the fire, a roaring flame as backdrop during dinner, kids roasting marshmallows while the adults linger within sight at the dining table, or the gang huddled around a bonfire.

The design brief for this garden was to create an inviting entry with a woodland feel that would complement the home's earthy color scheme and thoughtful architectural details. Majestic Sequoia sempervirens 'Aptos Blue' (Aptos Blue Coastal Redwood), with its pendant deep blue-green branches, shields the expanded porch from the afternoon sun. Selected for its ability to look good in sun or shade, Carex divulsa (Berkeley sedge) makes a lush ground cover, weaving through the trees and along the new slate walk. In fall, muhlenbergia capillaris explodes with feathery pink plumes. Photos by Martin Cox Photography.

Tricia Shay Photography
Mid-sized trendy black two-story mixed siding flat roof photo in Milwaukee

© Bates Masi + Architects
Example of a mid-sized open concept living room design in New York with a two-sided fireplace, a metal fireplace and no tv

York Mills Residence | Layered Contemporary Elegance This York Mills residence was designed around the idea of quiet luxury expressed through architectural detail rather than excess. The interior combines classical residential proportions with contemporary forms, creating a sophisticated environment that feels highly curated while remaining comfortable and inviting for everyday living. A key design strategy was to establish a continuous architectural language across the connected living, dining, and circulation spaces. Rather than designing each zone independently, the spaces are visually tied together through consistent wall paneling, warm oak flooring, carefully controlled neutral tones, and a coordinated lighting strategy. This creates a strong sense of continuity and allows the eye to move naturally through the home. The ceiling design plays an important role in defining the character of the interior. Elaborate geometric and curved coffering introduces a sculptural element overhead, transforming the ceiling into a fifth architectural surface. The integrated perimeter illumination emphasizes these forms after dark, while recessed lighting provides functional illumination without competing with the decorative architecture. The black stone fireplace provides a deliberate counterpoint to the predominantly light interior. Its strong visual weight anchors the living area and establishes a dramatic focal point, while the softer curved seating and neutral upholstery balance its intensity. This contrast between monumental architectural elements and tactile, rounded furnishings gives the room a contemporary character without losing its residential warmth. Furniture planning was approached as an exercise in conversation, proportion, and movement. The seating arrangement creates an intimate conversational zone while maintaining a clear visual and physical connection to the dining area. The curved forms soften the geometry of the architecture and introduce a more relaxed human scale within the larger room. The dining area extends the social function of the space and is visually framed by the architectural detailing and artwork. A sculptural chandelier establishes a focal point above the dining table, while the large-scale artwork introduces color, energy, and individuality into the otherwise restrained palette. This balance between a controlled architectural background and expressive art allows the homeowner's personality to become part of the design. The flooring contributes another layer of craftsmanship. The warm wood surface establishes continuity throughout the open interior, while geometric floor detailing and directional patterns subtly define zones without relying on physical partitions. This allows the architecture to remain open while still providing a sense of hierarchy and spatial organization. Artwork, decorative objects, greenery, and furnishings were intentionally selected to introduce moments of color, texture, softness, and visual contrast. The result is not a purely minimalist interior; instead, it is a layered composition in which restraint provides the foundation for carefully selected moments of expression. Overall, the project reflects a contemporary approach to traditional luxury, architectural, highly detailed, and timeless, but never overly formal. The design prioritizes proportion, craftsmanship, material relationships, natural light, and the experience of moving through the home, creating an interior that functions as both an elegant entertaining environment and a comfortable everyday living space.

saxifrage Le jardinet

Curtis and Peggy had been thinking of a kitchen remodel for quite some time, but they knew their house would have a unique set of challenges. Their older Victorian house was built in 1891. The kitchen cabinetry was original, and they wanted to keep the authenticity of their period home while adding modern comforts that would improve their quality of life. A friend recommended Advance Design Studio for their exceptional experience and quality of work. After meeting with designer Michelle Lecinski at Advance Design, they were confident they could partner with Advance to accomplish the unique kitchen renovation they’d been talking about for years. “We wanted to do the kitchen for a long, long time,” Curtis said. “(We asked ourselves) what are we actually going to do? How are we going to do this? And who are we going to find to do exactly what we want?” The goal for the project was to keep the home renovation and new kitchen feeling authentic to the time in which it was built. They desperately wanted the modern comforts that come with a larger refrigerator and the dishwasher that they never had! The old home was also a bit drafty so adding a fireplace, wall insulation and new windows became a priority. They very much wanted to create a comfortable hearth room adjacent to the kitchen, complete with old world brick. The original cabinetry had to go to make way for beautiful new kitchen cabinetry that appears as if it was a hundred years old, but with all the benefits of cutting-edge storage, self-closing drawers, and a brand-new look. “We just wanted to keep it old looking, but with some modern updates,” Peggy said. Dura Supreme Highland Cabinets with a Heritage Old World Painted Finish replaced the original 1891 cabinets. The hand-applied careful rubbed-off detailing makes these exquisite cabinets look as if they came from a far-gone era. Despite the small size of the kitchen, Peggy, Curtis and Michelle utilized every inch with custom cabinet sizes to increase storage capacity. The custom cabinets allowed for the addition of a 24” Fisher Paykel dishwasher with a concealing Dura Supreme door panel. Michelle was also able to work into the new design a larger 30” Fisher Paykel French refrigerator. “We made every ¼ inch count in this small space,” designer Michelle said. “Having the ability to custom size the cabinetry was the only way to achieve this.” “The kitchen essentially was designed around the Heartland Vintage range and oven,” says Michelle. A classic appliance that combines nostalgic beauty and craftsmanship for modern cooking, with nickel plated trim and elegantly shaped handles and legs; the not to miss range is a striking focal point of the entire room and an engaging conversation piece. Granite countertops in Kodiak Satin with subtle veining kept with the old-world style. The delicate porcelain La Vie Crackle Sonoma tile kitchen backsplash compliments the home’s style perfectly. A handcrafted passthrough designed to show off Peggy’s fine china was custom built by project carpenters Justin Davis and Jeff Dallain to physically and visually open the space. Additional storage was created in the custom panty room with Latte Edinburg cabinets, hand-made weathered wood shelving with authentic black iron brackets, and an intricate tin copper ceiling. Peggy and Curtis loved the idea of adding a Vermont stove to make the hearth-room not only functional, but a truly beckoning place to be. A stunning Bordeaux red Vermont Castings Stove with crisp black ventilation was chosen and combined with the authentic reclaimed Chicago brick wall. Advance’s talented carpenters custom-built elegant weathered shelves to house family memorabilia, installed carefully chosen barn sconces, and made the hearth room an inviting place to relax with a cup of coffee and a good book. “Peggy and Curtis’ project was so much fun to work on. Creating a space that looks and feels like it always belonged in this beautiful old Victorian home is a designer’s dream. To see the delight in their faces when they saw the design details coming together truly made it worth the time and effort that went into making the very compact kitchen space work”, said Michelle. “The result is an amazing custom kitchen, packed with functionality in every inch, nook and cranny!” exclaims Michelle. The renovation didn’t end with the kitchen. New Pella windows were added to help lessen the drafts. The removal of the original windows and trim necessitated the re-creation of hand-made corbels and trim details no longer available today. The talented carpenter team came to the rescue, crafting new pieces and masterfully finishing them as if they were always there. New custom gutters were formed and installed with a front entry rework necessary to accommodate the changes. The whole house functions better, but it still feels like the original 1891 home. “From start to finish it’s just a much better space than we used to have,” Peggy said. “Jeff and Justin were amazing.” Curtis added; “We were lucky to find Advance Design, because they really came through for us. I loved that they had everything in house, anything you needed to have done, they could do it”.