Brick Pier
Elegant exterior home photo in Boston

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.

Photo of a tropical landscaping in Hawaii.

Jenny Acheson
Photo of a mid-century modern landscaping in Portland.

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”.

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”.

Ed Castro Landscape: Atlanta's finest source for landscape design, construction, maintenance, and horticultural services.
Photo of a traditional landscaping in Atlanta.

The Deschutes House is located on an urban site facing the Deschutes River in Bend, Oregon. The architectural massing of the house has been wrapped around a south-facing, grassy courtyard, with dramatic 2nd story spaces cantilevered toward the river. The main living space is completely transparent to the river on one side and to the courtyard on the other side, providing two entirely different views from the room. The living ceiling plane has enlivened by CNC-milled wood-strip ceiling panels, with variegated shapes inspired by landscape morphology. The house is clad with a two different types of siding: tightly spaced Western red cedar and corrugated metal siding. The warm tones of the wood contrast nicely with the cool tones of the metal siding and metal roofing. The fireplace chimney is clad in Montana ledgestone with a combination of earth tones and grey-blue colors. The house has a number of sustainable or “green” building features, including 2x8 construction (40% greater insulation value); generous glass areas to provide natural lighting and ventilation; large overhangs for sun and snow protection; metal siding for maximum durability; and radiant floor heating. The house also has solar hot water panels for domestic hot water.

DECO Window Fashions. Ripple Fold Draperies
Home design - contemporary home design idea in Austin

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”.

Photo of a mid-century modern landscaping in Seattle.

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 owners of this 1980’s built-home wanted to create a completely new look for their outdated master bath and turned to Renovisions for design and build services. Having perused Renovisions website, they were confident they made the right choice to help them transform their ordinary space into something truly extraordinary. The design team created several configurations for the homeowners review until they nailed down one particular design that would create that wow factor. The main challenges were creating an open, spacious feel and maximizing natural light and ventilation with plenty of storage and customizations. The addition of a second window allows ample light into the space throughout the day along with the recessed and sconce lights which were perfectly placed. Storage, which was a key element of this design, includes two separate vanity cabinets (his and hers) with plenty of space for needed toiletries, a matching framed medicine cabinet for her and a custom built cubby for him. Built on site was a linen closet with both roll out and stationary shelves for towels and shower supplies. The spacious walk-in, all tiled shower boasts ‘no door’ access with lineal drain, traditional fixed and hand-held shower heads and a rounded shower seat. Polished black granite was used inside the cubby and topping both the threshold and seat creating a nice contrast to and tying in with the floor. The decorative grab bar ensures safety for these homeowners while showering. The heated floors added throughout the bath take the edge off when stepping out of the warm shower and are conveniently operated by a 24 hour programmable thermostat. Classic white subway tile and chair rail trims adorne all walls and tie in nicely to each vanity station. Carrera look quartz was the perfect choice for countertops creating a clean fresh look. Stunning marble basket-weave mosaic floor tile set the stage in this exquisite bath as the beautiful white painted cabinetry softened the overall feel of the space. These homeowners are not saving spa retreats for once-a-year vacations anymore, they now enjoy a relaxing spa-like shower experience every day in their own home!

The Challenge: Create a rugged yet warm farmhouse feel in a high rise tower. Start with an entire 9600 gross square foot penthouse floor of raw concrete floor, walls and ceiling. Devise inventive ways to address intractable existing conditions including a plumbing layout inconsistent with our Client program, a relatively low ceiling and a massive elevator core and yet take of advantage of panoramic views of the city from all sides. For example, rather than make a bulky drywall enclosure for existing pipes that poke thru the kitchen counter, they are wrapped with antique painted galvanized sheet metal to keep sight lines around the corner as open as possible. Or, transform an unattractive and inconveniently located 24” diameter vertical duct in the middle of Samantha’s and Hannah’s (grandchildren’s) guest bedroom into part of a lovely arched top bed nook. Or, disguise a chase for above floor plumbing runs as the base for an open buffet counter. The oppressive elevator lobby was shortened; terminating in handmade glass and steel garden doors at both ends. Custom details include a groined vaulted ceiling and arched openings with stone pilasters (for future trompe-l’oeil images of a Tuscany countryside). To maximize a feeling of height, the ceilings start low and get higher as they progress to the outside walls. The Program: Create a five bedroom condo for an elderly couple with specific and different needs. Mr. likes his privacy and to stay up late into the night on the internet. He likes order. Mrs. has some physical limits that have been addressed in various ways such as shorter travel distances, a step down shower, raised dishwasher and custom cast (to ensure that they won’t rust) iron grab bars. She prefers more disorder. Spaces should be visually arresting, full of detail and easy to maintain. Private spaces include separate master bathrooms, his and her offices and a multi screened Media Room. The balance of the floor must link spaces into one continuous open room along the south and east elevations using large elements yet keeping an intimate scale, sound control and privacy. For example, a substantial fireplace made of old barn timber framing, country stone and a hammered iron grill is strategically located at the critical Southeast corner. Above, black iron offset pintel hardware allow custom double doors to hide a large flat screen TV. High technology is in place for inconspicuous yet easy use. Icon driven key pads operate lighting, window treatments, audio visual systems with multiple sources and access to movie and music databases and five HVAC zones with independent humidity controls. Outstanding Features: Exterior masonry walls have stone culled from five quarries. Sprinkled throughout are surprises - bricks with words as messages from the past, wood trimmed niches and colored glass. Glass pieces set in window corners offer bursts of color when backlit by the sun. These materials are assembled in a rough irregular fashion to look like the work of a mason from the Italian countryside. Interior ceilings and walls have overlapping layers of two plaster colors. Perimeter ceilings are made of smooth random width cedar. Rough planed cedar beams hide ductwork and allow the maximum ceiling height between them. Custom details are everywhere-consider the ten foot barn doors on overhead track at the service elevator, cedar benches/storage areas that run below window banks, antique air registers, acid washed piano hinges and transom window operators and existing concrete piers that are featured instead of hidden. The floors are made of random width wide plank old oak with hand planed faces and edges. Overall, the elements were carefully selected or painted/stained to form a soft muted gray palate The Country kitchen features an old fashioned style ice box appearance for the refrigerator/freezer, a tin ceiling, a distressed assortment of cabinets in multiple heights, colors and woods such as the cherry wood buffet cabinet with sliding glass doors on both sides. A backlit breakfast counter, a hammered copper hood and chicken wire inserts are part of the effort to make a comfortable, eclectic old fashioned looking Kitchen while containing the latest appliances and storage systems. Awards: This project has won several kitchen and bath awards: Felman Kitchen Awards 2009 St. Louis Homes and Lifestyles Kitchen of the Year – Gold Award 2008-2009 SubZero Wolf Kitchen Design Contest – Regional Winner, Regional Designer’s Choice 2010 NKBA Art of the Industry – Pinnacle of Design Award 2010 NKBA Art of the Industry – First Place Medium Kitchen 2010 NKBA Art of the Industry – Consumer’s Choice Award 2010 K&BB Kitchen of the Year Award Felman Bath Awards 2010 Ladue News Award—Master Bathroom

Western Red Cedar channel rustic siding shown as it would be installed. Prefinished in PPG's 2018 stain color of the year "Cinder". This semi-transparent stain allows the natural wood color come through but has a dark black tone but it is not a solid color stain.

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.

Mid-sized arts and crafts front porch idea in Baltimore with decking and a roof extension