This is a new item to the Fleurco line - nice use of space/storage inside the base and a high end frameless door system to make an alcove space really shine!

At the far end of the deck, a three season room was added off of the living room, providing a shady respite for dining and relaxing. This room features built in cabinetry to store off season screens or glass panels, as well as outdoor dining wear. A Douglas Fir ceiling is finished with a marine varnish for a nautical look. Above the three season room, a roof deck was added off of the master bedroom suite providing private, serene adult space. Eric Roth Photography

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.

This glass block wall included a decorative tile row through one course of the blocks. In addition a barrier free ready for tile base was used to make this shower handicap accessible as well.

With the pending arrival of a beautiful baby girl, the homeowners of this 1928 Minneapolis Tudor wanted a basement that was conducive to a young child, but would still allow a place for family to gather and the occasional house guest. The original basement was typical; cold, lacking natural light with tiny, uncomfortably confined rooms and that “unique” basement smell. The goal was to reverse all of the ill effects of a rarely unappreciated space while increasing the performance of the older home. The frigid temperatures and wet, mildew odor was remedied by demolishing the entire slab floor and excavating to gain an extra six inches in ceiling height. It also allowed us to insulate to R-15, moisture proof under the new slab, install a drain tile and sump pump. Within the concrete slab is a hydronic, in-floor radiant heating system which further helps to add comfort to the space. Lastly, we also sprayed a closed-cell, expanding urethane foam on the inside of the foundation walls all the way to the first floor. To help bring more light down to the basement, we started by opening up the staircase on both sides. A curved wall bends light into the lower level while a countertop and cubbies below provide storage space for odds and ends. On the opposite wall, creatively placed cubbies provide places for paintings, ceramics and plants. We also removed the tiny 18” x 34” window on the south wall and installed a full-sized, high-efficiency, triple pane Pella egress window. To let lots of natural light into the window, we expanded the size of the cedar-lined egress well and included a built-in planter at the base to help bring life into an otherwise empty cavity. Small, unspecified spaces that became storage areas now have purpose. The areas are defined, yet open. Upon descending down the stairs, one is greeted by a large living room with curved walls, custom design media center, built-in daybed and bookshelves. Use of paint was important in the design. Naturally in older homes basements are going to have exposed beams, soffits and a whole gambit of nooks and crannies. Instead of disguising them, we played them up, which created a layer effect with the color. The color also adds a touch of playfulness which anyone, regardless of age, can enjoy. We scavenged the client’s garage and discovered that the previous homeowner kept the old, full-view glass front entry door in the garage. We re-installed the original glass knob and attached the door to sliding barn door hardware which was attached to the main structural beam of the lower level. On the other side of the door was the homeowners’ combined office and small fitness area. The office floor is a blend of thin strips of different colored cork. A built-in storage cabinet sits across from a site-built desk which forms to the curve of the dividing wall. A small, square hole in the curved wall provides a view to see who is coming down the stairs. Opposite of the office area and directly at the base of the stairs is a place for the homeowner’s treadmill. Hidden is the mechanical room, which is home to many green and energy efficient products. The washing machine is a low-water consumption unit while the dryer requires less energy to operate than most standard units. Both sit atop a checkerboard pattern of different colored VCT tiles. We also replaced the aging boiler, which only heated the first and second level, with a 95% efficient heat source for the entire house—including the basement. Behind the curved wall, the bathroom is conveniently located. A large, custom built no-formaldehyde added vanity supports the slab of remnant granite countertop. A piece of eco-resin wall panel, embedded with organic material, contains water in the shower and blends beautifully with the updated colors. Tucked under the stairs, we installed a dual-flush, low-water consumption toilet. Through creative space planning, we packed a lot of into a rather small space. As a result, we have three very happy homeowners who are enjoying their light, clean and safe lower level of their home—however, they’ve been hard pressed to think of it as a “basement”. highlights Moisture management system Insulated slab Hydronic in-floor heat Formaldehyde free cabinetry MN-made custom cabinets Ultra-low VOC paints Wool carpet Dual-flush toilet Cork floor No recessed lights Cedar egress window well with planter Re-used door Eco-resin

This project presented unique opportunities that are not often found in residential landscaping. The homeowners were not only restoring their 1840's era farmhouse, a piece of their family’s history, but also enlarging and updating the home for modern living. The landscape designers continued this idea by creating a space that is a modern day interpretation of an 1840s era farm rather then a strict recreation. The resulting design combines elements of farm living from that time, as well as acknowledging the property’s history as a horse farm, with staples of 21st century landscapes such as space for outdoor living, lighting, and newer plant varieties. Guests approach from the main driveway which winds through the property and ends at the main barn. There is secondary gated driveway just for the homeowners. Connected to this main driveway is a narrower gravel lane which leads directly to the residence. The lane passes near fruit trees planted in broken rows to give the illusion that they are the remains of an orchard that once existed on the site. The lane widens at the entrance to the gardens where there is a hitching post built into the fence that surrounds the gardens and a watering trough. The widened section is intended as a place to park a golf cart or, in a nod to the home’s past, tie up horses before entering. The gravel lane passes between two stone pillars and then ends at a square gravel court edged in cobblestones. The gravel court transitions into a wide flagstone walk bordered with yew hedges and lavender leading to the front door. Directly to the right, upon entering the gravel court, is located a gravel and cobblestone edged walk leading to a secondary entrance into the residence. The walk is gated where it connects with the gravel court to close it off so as not to confuse visitors and guests to the main residence and to emphasize the primary entrance. An area for a bench is provided along this walk to encourage stopping to view and enjoy the gardens. On either side of the front door, gravel and cobblestone walks branch off into the garden spaces. The one on the right leads to a flagstone with cobblestone border patio space. Since the home has no designated backyard like most modern suburban homes the outdoor living space had to be placed in what would traditionally be thought of as the front of the house. The patio is separated from the entrance walk by the yew hedge and further enclosed by three Amelanchiers and a variety of plantings including modern cultivars of old fashioned plants such as Itea and Hydrangea. A third entrance, the original front door to the 1840’s era section, connects to the patio from the home’s kitchen, making the space ideal for outdoor dining. The gravel and cobblestone walk branching off to the left of the front door leads to the vegetable and perennial gardens. The idea for the vegetable garden was to recreate the tradition of a kitchen garden which would have been planted close to the residence for easy access. The vegetable garden is surrounded by mixed perennial beds along the inside of the wood picket fence which surrounds the entire garden space. Another area designated for a bench is provided here to encourage stopping and viewing. The home’s original smokehouse, completely restored and used as a garden shed, provides a strong architectural focal point to the vegetable garden. Behind the smokehouse is planted lilacs and other plants to give mass and balance to the corner and help screen the garden from the neighboring subdivision. At the rear corner of the garden a wood arbor was constructed to provide a structure on which to grow grapes or other vines should the homeowners choose to. The landscape and gardens for this restored farmhouse and property are a thoughtfully designed and planned recreation of a historic landscape reinterpreted for modern living. The idea was to give a sense of timelessness when walking through the gardens as if they had been there for years but had possibly been updated and rejuvenated as lifestyles changed. The attention to materials and craftsmanship blend seamlessly with the residence and insure the gardens and landscape remain an integral part of the property. The farm has been in the homeowner’s family for many years and they are thrilled at the results and happy to see respect given to the home’s history and to its meticulous restoration.

Modern Guest Bedroom, Miami Beach. Ocean front, Luxury home in Miami Beach. Projects by J Design Group, Your friendly Interior designers firm in Miami, FL. at your service. AVENTURA MAGAZINE selected our client’s luxury 5000 Sf ocean front apartment in Miami Beach, to publish it in their issue and they Said: Story by Linda Marx, Photography by Daniel Newcomb Light & Bright New York snowbirds redesigned their Miami Beach apartment to take advantage of the tropical lifestyle. New York snowbirds redesigned their Miami Beach apartment to take advantage of the tropical lifestyle. WHEN INTERIOR DESIGNER JENNIFER CORREDOR was asked to recreate a four-bedroom, six-bath condominium at The Bath Club in Miami Beach, she seized the opportunity to open the rooms and better utilize the vast ocean views. In five months last year, the designer transformed a dark and closed 5,000-square-foot unit located on a high floor into a series of sweeping waterfront spaces and updated the well located apartment into a light and airy retreat for a sports-loving family of five. “They come down from New York every other weekend and wanted to make their waterfront home a series of grand open spaces,” says Jennifer Corrredor, of the J. Design Group in Miami, a firm specializing in modern and contemporary interiors. “Since many of the rooms face the ocean, it made sense to open and lighten up the home, taking advantage of the awesome views of the sea and the bay.” The designer used 40 x 40 all white tile throughout the apartment as a clean base. This way, her sophisticated use of color would stand out and bring the outdoors in. The close-knit family members—two parents and three boys in college—like to do things together. But there were situations to overcome in the process of modernizing and opening the space. When Jennifer Corredor was briefed on their desires, nothing seemed too daunting. The confident designer was ready to delve in. For example, she fixed an area at the front door that was curved. “The wood was concave so I straightened it out,” she explains of a request from the clients. “It was an obstacle that I overcame as part of what I do in a redesign. I don’t consider it a difficult challenge. Improving what I see is part of the process.” She also tackled the kitchen with gusto by demolishing a wall. The kitchen had formerly been enclosed, which was a waste of space and poor use of available waterfront ambience. To create a grand space linking the kitchen to the living room and dining room area, something had to go. Once the wall was yesterday’s news, she relocated the refrigerator and freezer (two separate appliances) to the other side of the room. This change was a natural functionality in the new open space. “By tearing out the wall, the family has a better view of the kitchen from the living and dining rooms,” says Jennifer Corredor, who also made it easier to walk in and out of one area and into the other. “The views of the larger public space and the surrounding water are breathtaking. Opening it up changed everything.” They clients can now see the kitchen from the living and dining areas, and at the same time, dwell in an airy and open space instead of feeling stuck in a dark enclosed series of rooms. In fact, the high-top bar stools that Jennifer Corredor selected for the kitchen can be twirled around to use for watching TV in the living room. In keeping with the theme of moving seamlessly from one room to the other, Corredor designed a subtle wall of glass in the living room along with lots of comfortable seating. This way, all family members feel at ease while relaxing, talking, or watching sporting events on the large flat screen television. “For this room, I wanted more open space, light and a supreme airy feeling,” she says. “With the glass design making a statement, it quickly became the star of the show.”……. ….. To add texture and depth, Jennifer Corredor custom created wood doors here, and in other areas of the home. They provide a nice contrast to the open Florida tropical feel. “I added character to the openness by using exotic cherry wood,” she says. “I repeated this throughout the home and it works well.” Known for capturing the client’s vision while adding her own innovative twists, Jennifer Corredor lightened the family room, giving it a contemporary and modern edge with colorful art and matching throw pillows on the sofas. She added a large beige leather ottoman as the center coffee table in the room. This round piece was punctuated with a bold-toned flowering plant atop. It effortlessly matches the pillows and colors of the contemporary canvas. Jennifer Corredor also gutted all of the bathrooms, resulting in a major redesign of the master. She jettisoned the whirlpool and created the dazzling illusion of a floating tub. From an area where there were two toilets, she eliminated one to make a grand rectangular shower, which became an overall showpiece. The master bath went from being just a functional water closet to a sophisticated spa-like space. “The client said I was ‘delicious’ after seeing the change,” laughed Jennifer Corredor, who emphasized that her clients love their part-time life in South Florida more each time they come down. Even when the husband has to work from their Miami Beach digs, he is surrounded by tropical beauty. For instance, there are times when the master bedroom must double as the husband’s home office. The room had to be large enough to accommodate a working space for this purpose. So Jennifer Corredor placed an appropriate table near the window and across from the king-size bed. “No blocking of the amazing water view was necessary,” she says. “I kept an open space with a lot of white so It functions well and the work space fits right in.” She repeated the bold modern art in the room as well as in the guest bedroom, which also has a workspace for the sons when they are home from school and need to study. The designer is still happy and glowing with the results of her toil in this apartment. She gets a “spiritual feeling” when she walks inside. “It is so peaceful and serene, with subtle hints of explosive statements,” she says. “The entire space is open, yet anchored by the warmth of the exotic woods.” The client wrote Jennifer Corredor a letter at the end of the project congratulating her on a job well done. She revealed that owning a Miami Beach home was her husband’s dream 30 years ago. “Now we have a quality perfect yet practical home,” she wrote to the designer. “You solved the challenges, and the end result far exceeds our expectations. We love it.” Thanks for your interest in our Contemporary Interior Design projects and if you have any question please do not hesitate to ask us. http://www.JDesignGroup.com 305.444.4611 Modern Interior designer Miami. Contemporary Miami Miami Interior Designers Miami Interior Designer Interior Designers Miami Interior Designer Miami Modern Interior Designers Modern Interior Designer Modern interior decorators Modern interior decorator Contemporary Interior Designers Contemporary Interior Designer Interior design decorators Interior design decorator Interior Decoration and Design Black Interior Designers Black Interior Designer Interior designer Interior designers Interior design decorators Interior design decorator Home interior designers Home interior designer Interior design companies Interior decorators Interior decorator Decorators Decorator Miami Decorators Miami Decorator Decorators Miami Decorator Miami Interior Design Firm Interior Design Firms Interior Designer Firm Interior Designer Firms Interior design Interior designs home decorators Interior decorating Miami Best Interior Designers. 225 Malaga Ave. Coral Gable, FL 33134 http://www.JDesignGroup.com 305.444.4611

Design ideas for a traditional landscaping in Other for spring.

This fresh modern farmhouse began as a cape home with years of additions and adds on, creating no formal structure. Rocco J Lettieri worked to keep the footprint of the home due to limitations based on the wetland conservations on the property and opted to go from a traditional home to a modern barn with a semi-open plan. The goal was to feel clean and crisp throughout all of the seasons. It was built for a close family so the layout is designed to be inviting for their children as well. Photo Credit: Tria Giovan

Blending contemporary forms and lush plantings, this Garden maximizes the sensory experience of the materials and planting from inside and outside the home. The garden occupies an interior courtyard framed by four interior walls. The home, designed by Architect Cliff May was built in 1948 and the following year was featured in House Beautiful Magazine. The clients list of needs and desires was brief. They wanted a space that would complement the mid century modern home and provide visual interest from inside the home. Some form of water was also requested. They had a budget of $30,000. In order to stay within their budget the clients performed the demolition of the old garden. The designer’s intent was to create a garden that would possess a clear sculptural quality and would be as visually striking from inside the home as it would be from inside the courtyard. The strategy behind the design was to use hardscape materials characterized by simple geometric forms and a planting palette that would emphasize form over color, and then to arrange the materials to achieve an interpretation of modern aesthetic. The views from inside the homes three main living rooms present the garden as a graphic composition of space, hardscape materials and planting. Inside the courtyard the edges are defined by stone and planting. The floor is composed of rectangular slabs of Teakwood flagstone with a counterpoint of Mexican beach pebbles set within the joints and around the edges. Concrete along the edges of the Teakwood pads reduces migration of the modified stone and sand base. The contrast of the Mexican beach pebbles accentuates the pattern of the flagstone. The outside perimeter of the pebbles is contained with low profile edging. An existing catch drain was utilized for storm water runoff. A concrete block pier set on a concrete footing is covered with black stucco and provides a perch for a custom made copper bowl that circulates water into the L shaped water feature. The water features subterranean basin is constructed of pressure treated wood with a custom box liner insert. Since the Teakwood flagstone was unavailable as coping for the water feature, the designer chose Shawnee Buff stone to complement the Teakwood flagstone. The subtle sound of water spilling from the copper bowl and the reflective qualities of the water help to create an atmosphere of relaxation. The planting is composed of shades of green with white flowers in order to accentuate the graphic design. ‘Justin Brouwer’ Boxwood, ‘Sum and Substance’ Hosta, white Anemones, black bamboo and ornamental grasses contrast dramatically with the clean lines of the hardscape elements. The black bamboo is set in 30” diameter concrete containers to control the vigorous plant from spreading. The construction of the interior courtyard space challenged the building team. They set up baffles between the front door and the door to the courtyard as well as temporary protection over the floor to allow the process to move forward without too much disturbance to the client’s lives. All of the materials were shuffled through the temporary portal. The clients love the space and recently said that “the design is so well thought out and simple that they would never get tired of it.” The designs sculptural quality compliments the modern feel of the home and creates a sublime yet dramatic view from within the house or within the courtyard. The clients plan to purchase two black Bertoia Diamond chairs with red cushions which should perfectly integrate with the space.

After - Blending contemporary forms and lush plantings, this Garden maximizes the sensory experience of the materials and planting from inside and outside the home. The garden occupies an interior courtyard framed by four interior walls. The home, designed by Architect Cliff May was built in 1948 and the following year was featured in House Beautiful Magazine. The clients list of needs and desires was brief. They wanted a space that would complement the mid century modern home and provide visual interest from inside the home. Some form of water was also requested. They had a budget of $30,000. In order to stay within their budget the clients performed the demolition of the old garden. The designer’s intent was to create a garden that would possess a clear sculptural quality and would be as visually striking from inside the home as it would be from inside the courtyard. The strategy behind the design was to use hardscape materials characterized by simple geometric forms and a planting palette that would emphasize form over color, and then to arrange the materials to achieve an interpretation of modern aesthetic. The views from inside the homes three main living rooms present the garden as a graphic composition of space, hardscape materials and planting. Inside the courtyard the edges are defined by stone and planting. The floor is composed of rectangular slabs of Teakwood flagstone with a counterpoint of Mexican beach pebbles set within the joints and around the edges. Concrete along the edges of the Teakwood pads reduces migration of the modified stone and sand base. The contrast of the Mexican beach pebbles accentuates the pattern of the flagstone. The outside perimeter of the pebbles is contained with low profile edging. An existing catch drain was utilized for storm water runoff. A concrete block pier set on a concrete footing is covered with black stucco and provides a perch for a custom made copper bowl that circulates water into the L shaped water feature. The water features subterranean basin is constructed of pressure treated wood with a custom box liner insert. Since the Teakwood flagstone was unavailable as coping for the water feature, the designer chose Shawnee Buff stone to complement the Teakwood flagstone. The subtle sound of water spilling from the copper bowl and the reflective qualities of the water help to create an atmosphere of relaxation. The planting is composed of shades of green with white flowers in order to accentuate the graphic design. ‘Justin Brouwer’ Boxwood, ‘Sum and Substance’ Hosta, white Anemones, black bamboo and ornamental grasses contrast dramatically with the clean lines of the hardscape elements. The black bamboo is set in 30” diameter concrete containers to control the vigorous plant from spreading. The construction of the interior courtyard space challenged the building team. They set up baffles between the front door and the door to the courtyard as well as temporary protection over the floor to allow the process to move forward without too much disturbance to the client’s lives. All of the materials were shuffled through the temporary portal. The clients love the space and recently said that “the design is so well thought out and simple that they would never get tired of it.” The designs sculptural quality compliments the modern feel of the home and creates a sublime yet dramatic view from within the house or within the courtyard. The clients plan to purchase two black Bertoia Diamond chairs with red cushions which should perfectly integrate with the space.

Wider angle shot of the great room shows you the living room, dining room and a peak into the start of the kitchen. The fiddle fig leaf plant in its basket with black base keeps it soft and playful. The beautiful dining table with its porcelain marbeled top extends as well, the chairs clean with a simple wipe for this young house, and the walnut legs complement the millwork in the kitchen. The dining room console is stunning with its acrylic base and lacqured burled wood in onyx finish anchored by a simple round mirror with brass accents. The white and fuschia flowers bring some softness to this space.The homeowners had the chandelier from before and it brings so much character to the space.

This home was featured in the May 2016 edition of HOME & DESIGN Magazine. To see the rest of the home tour as well as other luxury homes featured, visit http://www.homeanddesign.net/balancing-act/

The Art of Turning a House into a Home Remodeling or custom-creating elements of the home to suit the client’s taste is an art – one of which Bentz has delicately mastered. With careful attention to detail, W.A. Bentz Construction can steer any project in the right direction, from complete interior and exterior home renovations to deck or room additions. Each member of the W.A. Bentz Construction team is licensed, insured and experienced at all facets of home renovations. They can advise on a variety of building topics such as: which projects are likely to increase the value of a home; whether or not a building permit is needed; and which design ideas work well for the space. They also take careful precautions throughout the building process to protect the home and ensure maximum security. With over 35 years of experience plus access to a vast network of top subcontractors in the area, Bentz and his team flawless manage each project so that it’s completed on time, on budget, and to the client’s expectations.

Two-bedroom renovation in a 1920’s loft style building. A single large floating ceiling with perimeter cove lighting was built over the living and dining space to accentuate the extra tall ceiling height. The ceiling also serves to hide LED recessed lighting, speakers and sprinkler heads. Custom teak veneer doors are wrapped with blackened steel door jams and a blackened steel base reveal that match the extra-large aluminum windows. High gloss gray lacquer cabinetry was used in the kitchen as well as for the matching living room TV unit. In the kitchen, custom flush pivot doors on either end, built to look like part of the kitchen cabinetry, push open on one side reveal an office behind and on the other to reveal a rear hallway leading to a guest bathroom. White caesarstone countertops were used throughout with large porcelain tiles in the bathrooms. Engineered grey-washed rift and quartered white oak floors extend throughout.

The Kiguchi family moved into their Austin, Texas home in 1994. Built in the 1980’s as part of a neighborhood development, they happily raised their family here but longed for something more contemporary. Once they became empty nesters, they decided it was time for a major remodel. After spending many years visiting Austin AIA Home Tours that highlight contemporary residential architecture, they had a lot of ideas and in 2013 were ready to interview architects and get their renovation underway. The project turned into a major remodel due to an unstable foundation. Architects Ben Arbib and Ed Hughey, of Arbib Hughey Design were hired to solve the structural issue and look for inspiration in the bones of the house, which sat on top of a hillside and was surrounded by great views. Unfortunately, with the old floor plan, the beautiful views were hidden by small windows that were poorly placed. In order to bring more natural light into the house the window sizes and configurations had to be addressed, all while keeping in mind the homeowners desire for a modern look and feel. To achieve a more contemporary and sophisticated front of house, a new entry was designed that included removing a two-story bay window and porch. The entrance of the home also became more integrated with the landscape creating a template for new foliage to be planted. Older exterior materials were updated to incorporate a more muted palette of colors with a metal roof, dark grey siding in the back and white stucco in the front. Deep eaves were added over many of the new large windows for clean lines and sun protection. “Inside it was about opening up the floor plan, expanding the views throughout the house, and updating the material palette to get a modern look that was also warm and inviting,” said Ben from Arbib Hughey Design. “Prior to the remodel, the house had the typical separation of rooms. We removed the walls between them and changed all of the windows to Milgard Thermally Improved Aluminum to connect the inside with the outside. No matter where you are you get nice views and natural light.” The architects wanted to create some drama, which they accomplished with the window placement and opening up the interior floor plan to an open concept approach. Cabinetry was used to help delineate intimate spaces. To add warmth to an all-white living room, white-washed oak wood floors were installed and pine planks were used around the fireplace. The large windows served as artwork bringing the color of nature into the space. An octagon shaped, elevated dining room, (named “the turret”), had a big impact on the design of the house. They architects rounded the corners and added larger window openings overlooking a new sunken garden. The great room was also softened by rounding out the corners and that circular theme continued throughout the house, being picked up in skylight wells and kitchen cabinetry. A staircase leading to a catwalk was added and the result was a two-story window wall that flooded the home with natural light. When asked why Milgard® Thermally Improved Aluminum windows were selected, the architectural team listed many reasons: 1) Aesthetics: “We liked the slim profiles and narrow sightlines. The window frames never get in the way of the view and that was important to us. They also have a very contemporary look that went well with our design.” 2) Options: “We liked that we could get large sliding doors that matched the windows, giving us a very cohesive look and feel throughout the project.” 3) Cost Effective: “Milgard windows are affordable. You get a good product at a good price.” 4) Custom Sizes: “Milgard windows are customizable, which allowed us to get the right window for each location.” Ready to take on your own traditional to modern home remodeling project? Arbib Hughey Design advises, “Work with a good architect. That means picking a team that is creative, communicative, listens well and is responsive. We think it’s important for an architect to listen to their clients and give them something they want, not something the architect thinks they should have. At the same time you want an architect who is willing and able to think outside the box and offer up design options that you may not have considered. Design is about a lot of back and forth, trying out ideas, getting feedback and trying again.” The home was completely transformed into a unique, contemporary house perfectly integrated with its site. Internally the home has a natural flow for the occupants and externally it is integrated with the surroundings taking advantage of great natural light. As a side note, it was highly praised as part of the Austin AIA homes tour.

See what our client say about working with us: I started my search for a contractor about a year before I hired Paul to do a kitchen and bathroom renovation. This was my first time at the bat, and I really had no idea what to expect. I had many contractor proposals that swung wildly in price but for some reason I never felt inclined to hire any of the guys I met with. I happened to be looking at Houzz one day and came across Paul’s company and he had very good reviews. I gave him a call and he came to my apartment quickly. I liked him immediately when we met. I thought it was strange that he asked me for my budget and how much I wanted to spend but in hindsight, providing that information allowed Paul to come back to me with a very detailed proposal based on my budget. I soon realized that the lower proposals I had did not include many of the budget items that would be necessary to complete the job. Paul laid out the pricing and provided a very reasonable “allowance” based on your measurements for tile, toilet, sinks, etc. It is up to you to stay within that allowance. Another reason I hired Paul was because of his design skills. Paul met me in the at tile stores several times and helped guide me in choosing tile and a style for the bathroom that really looks beautiful. I fought him a little but in the end, was glad I went with his recommendations. He also uses a kitchen cabinet maker so all the cabinets are custom to what you want. Paul also has a great customer website that allows you to see all the expenses, make choices, and easily communicate with him. If you are planning to do a renovation, I think it helps to plan for the worst and hope for the best. I live in a co-op and we had a couple of little glitches and Paul was always quick to resolve issues as they arose. He was extremely responsive and really cared about the work and doing a good job. I would definitely hire Paul again if I needed a contractor.

Blending contemporary forms and lush plantings, this Garden maximizes the sensory experience of the materials and planting from inside and outside the home. The garden occupies an interior courtyard framed by four interior walls. The home, designed by Architect Cliff May was built in 1948 and the following year was featured in House Beautiful Magazine. The clients list of needs and desires was brief. They wanted a space that would complement the mid century modern home and provide visual interest from inside the home. Some form of water was also requested. They had a budget of $30,000. In order to stay within their budget the clients performed the demolition of the old garden. The designer’s intent was to create a garden that would possess a clear sculptural quality and would be as visually striking from inside the home as it would be from inside the courtyard. The strategy behind the design was to use hardscape materials characterized by simple geometric forms and a planting palette that would emphasize form over color, and then to arrange the materials to achieve an interpretation of modern aesthetic. The views from inside the homes three main living rooms present the garden as a graphic composition of space, hardscape materials and planting. Inside the courtyard the edges are defined by stone and planting. The floor is composed of rectangular slabs of Teakwood flagstone with a counterpoint of Mexican beach pebbles set within the joints and around the edges. Concrete along the edges of the Teakwood pads reduces migration of the modified stone and sand base. The contrast of the Mexican beach pebbles accentuates the pattern of the flagstone. The outside perimeter of the pebbles is contained with low profile edging. An existing catch drain was utilized for storm water runoff. A concrete block pier set on a concrete footing is covered with black stucco and provides a perch for a custom made copper bowl that circulates water into the L shaped water feature. The water features subterranean basin is constructed of pressure treated wood with a custom box liner insert. Since the Teakwood flagstone was unavailable as coping for the water feature, the designer chose Shawnee Buff stone to complement the Teakwood flagstone. The subtle sound of water spilling from the copper bowl and the reflective qualities of the water help to create an atmosphere of relaxation. The planting is composed of shades of green with white flowers in order to accentuate the graphic design. ‘Justin Brouwer’ Boxwood, ‘Sum and Substance’ Hosta, white Anemones, black bamboo and ornamental grasses contrast dramatically with the clean lines of the hardscape elements. The black bamboo is set in 30” diameter concrete containers to control the vigorous plant from spreading. The construction of the interior courtyard space challenged the building team. They set up baffles between the front door and the door to the courtyard as well as temporary protection over the floor to allow the process to move forward without too much disturbance to the client’s lives. All of the materials were shuffled through the temporary portal. The clients love the space and recently said that “the design is so well thought out and simple that they would never get tired of it.” The designs sculptural quality compliments the modern feel of the home and creates a sublime yet dramatic view from within the house or within the courtyard. The clients plan to purchase two black Bertoia Diamond chairs with red cushions which should perfectly integrate with the space.

Like no other planter you've ever seen, this three-tiered structure allows you to create a unique piece of living architecture anywhere in your garden or outdoor-living area. As well made as it is attractive, this innovative planter is constructed of 100% Western Red Cedar that's naturally decay resistant. The corner joints are reinforced for increased durability. The Cascadia Planter comes with multiple installation options, which allows you to get the exact look you're wanting. It's perfect for creating a unique focal point, even in the off-season when it isn't overflowing with blooms. Proudly crafted in the USA, this decorative and fully functional planter holds approximately 4 cu. ft. of soil. If it is going to be displayed on a deck or other non-porous surface, it is recommended that a plastic liner (not included) be placed under the base tier. Assembly and care instructions included. Overall dimensions: 28" W x 28" D x 15" H. Tier dimensions: Large - 28" x 28"; Medium - 20" x 20"; Small - 12" x 12".