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Elegant u-shaped medium tone wood floor eat-in kitchen photo in San Francisco with an undermount sink, shaker cabinets, white cabinets, granite countertops, white backsplash, subway tile backsplash, stainless steel appliances and a peninsula

Inspiration for a transitional staircase remodel in New York

Typical of bungalows and city lots, the footprint of this home was narrow with living spaces in front, bedrooms in back and kitchen centrally located. However, unlike most bungalows, the hall running from front to back have been closed off to, presumably, accommodate a walk-in pantry. Couple that with the fact that this circa 1925 bungalow had seen a lot of living – read boisterous children and remodeling trends like z-brick, soffits, and fluorescent overhead lighting – the kitchen was due for a major overhaul. Truly the hub of this house, the modest 11’ x 12’ kitchen was most in need of additional countertop space, convenient garbage/recycle bin, counter-depth refrigerator, storage aids, informal dining for two, and sound-proofing to enable this musically adept family to coexist despite varied schedules. Gone are the wall soffits, boxy overhead lighting, six-foot baseboard heat unit, extra deep refrigerator, refurbished cabinets, laminate countertops, z-brick wall covering, and makeshift door swags. Enter rich mahogany cabinets, roll and pull-out storage units, endcap spice storage, gorgeous granite tops, marble backsplash, LED lighting, acoustic insulation and solid-wood doors. Under the guise of such a handsome room, provisions such as a period style sink allow for more efficient use of corners with pull-out half-moon trays for storage. Redirecting the baseboard heat to a compact, toekick unit, means more cabinet and counter space – perfect for a baking and/or entertaining area removed from the basic work triangle. The eating area, also, doubles as a work station with drawers for office supplies and dedicated outlet for cable tv. Functional yet beautiful, this kitchen is at the ready as its owners look forward to their golden years. Designed by: The Kitchen Studio of Glen Ellyn Photography by: Dawn Jackman For more information on kitchen and bath design ideas go to: www.kitchenstudio-ge.com

Mid-sized eclectic master medium tone wood floor, brown floor and wallpaper bedroom photo in San Francisco with yellow walls and no fireplace

Dining for six, lounge chairs and a daybed offer multiple ways to enjoy this midtown terrace . Lush flowering trees with a sweet fragrance add to the atmosphere of the garden.

Custom Mahogany Wood Door with Two Sidelites by Doors For Builders Inc.

Randy Colwell
Mountain style wooden straight staircase photo with wooden risers

Discover the beauty of this spacious kitchen with sleek white cabinets, stainless steel appliances, and a central island. Perfect for cooking and entertaining.

Typical of bungalows and city lots, the footprint of this home was narrow with living spaces in front, bedrooms in back and kitchen centrally located. However, unlike most bungalows, the hall running from front to back have been closed off to, presumably, accommodate a walk-in pantry. Couple that with the fact that this circa 1925 bungalow had seen a lot of living – read boisterous children and remodeling trends like z-brick, soffits, and fluorescent overhead lighting – the kitchen was due for a major overhaul. Truly the hub of this house, the modest 11’ x 12’ kitchen was most in need of additional countertop space, convenient garbage/recycle bin, counter-depth refrigerator, storage aids, informal dining for two, and sound-proofing to enable this musically adept family to coexist despite varied schedules. Gone are the wall soffits, boxy overhead lighting, six-foot baseboard heat unit, extra deep refrigerator, refurbished cabinets, laminate countertops, z-brick wall covering, and makeshift door swags. Enter rich mahogany cabinets, roll and pull-out storage units, endcap spice storage, gorgeous granite tops, marble backsplash, LED lighting, acoustic insulation and solid-wood doors. Under the guise of such a handsome room, provisions such as a period style sink allow for more efficient use of corners with pull-out half-moon trays for storage. Redirecting the baseboard heat to a compact, toekick unit, means more cabinet and counter space – perfect for a baking and/or entertaining area removed from the basic work triangle. The eating area, also, doubles as a work station with drawers for office supplies and dedicated outlet for cable tv. Functional yet beautiful, this kitchen is at the ready as its owners look forward to their golden years. Designed by: The Kitchen Studio of Glen Ellyn Photography by: Dawn Jackman For more information on kitchen and bath design ideas go to: www.kitchenstudio-ge.com

Kitchen - kitchen idea in Houston

Beautifully unique outdoor kitchen on the Eastside of Sonoma. Outdoor Kitchen includes: + LX2 Series 42 inch Built-in Alfresco Grill w/ Rotisserie and Infrared SearZone. + Alfresco VersaPower Cooker + 24 inch Built-in Marvel Outdoor Refrigerator + Twin Eagles Tall Trash Drawer + Twin Eagles 30 inch Triple Drawer and Door Combo + Twin Eagles 24 inch Single Access Door + Twin Eagles 19 inch Triple Storage Drawer + Twin Eagles 30 inch Access Door + Bromic Tungsten Smart-Heat 6000 Watt Electric Heater + Outdoor Dual Duplex Wall Switch Plate and Gang Box Construction by: JKT & Associates Photos by: Theilen Photography

This image performs an act of deliberate spatial framing: we are positioned as intruders in a threshold, the photograph's foreground bracketed by two monumental slabs of mahogany-toned door leaf and jamb that compress the visual field into a portal roughly one-third the width of the frame. The composition is therefore a study in *enfilade* logic — a controlled, telescoping sightline that draws the eye through a narrow aperture into a recessed alcove, a purpose-built writing niche carved from what appears to be a corridor or dressing-room vestibule. The niche itself is architecturally modest in footprint but generous in vertical proportion; the ceiling reads as a plain plastered plane, unadorned save for a surface-mounted linear picture light on a slender drop stem, and the wall is treated as a full-height field for a single dominant object. The joinery is the true architecture here: a continuous run of casework establishes a horizontal datum at desk height, with a cantilevered writing surface returning perpendicular to the left-hand wall and a lower bank of drawers and a shallow ledge running right. That ledge functions as a *cimaise* or picture shelf, resolving the base of the framed nautical chart and giving the composition a plinth. Above, an integrated soffit or upper cabinet with concealed under-lighting terminates the left elevation, reinforcing the sense of an inhabited, tailored recess rather than a room. The herringbone parquet in the foreground introduces a diagonal geometry that runs counter to the orthogonal grid of doors, casework and picture frame, and this friction — chevron against rectilinear — animates what would otherwise be a static, axial composition. The single chair, canted slightly off-axis and pulled away from the desk, is the compositional pivot: it breaks the symmetry, occupies the exact center of the aperture, and converts an architectural vignette into a narrative one. The palette is a disciplined exercise in the warm end of the spectrum, essentially monochromatic in hue and differentiated almost entirely by value, sheen and grain. The dominant material is timber, deployed in at least three distinct registers: the foreground door and jamb in a deeply saturated, red-brown mahogany or sapele with a high-build lacquer or French-polish sheen that catches light in long vertical highlights; the desk and casework in a lighter, honeyed figured wood — quartered cherry or anigre — finished to a satin rather than gloss, so that the eye reads it as a working surface rather than a ceremonial one; and finally the pale, blond oak of the herringbone floor, cerused or naturally oxidized to a straw tonality that lifts the lower register of the frame. Against this timber triad, the walls provide a chalky, low-saturation ground: a limewashed or flat-emulsion cream with a distinctly yellow-warm undertone that absorbs rather than reflects. The upholstery is the room's chromatic keynote — a saddle-tan or cognac leather, semi-aniline, already developing patina and slight slouch at the seat, its edge articulated by a close-set brass or antique-nickel nailhead trim that reads as a stitched seam of tiny metallic points. Metals are used sparingly and with historical precision: the polished chrome rosette and knob of the door with its heavy escutcheon and mortise strike plate, the slim brushed housing of the picture light. Texturally, the room stages a dialogue between the hard, reflective and the soft, absorbent: lacquer against limewash, taut leather against the friable, foxed paper of the antique chart. That chart — a hydrographic survey rendered in ochre, sepia and faded aqua, its ebonized frame supplying the composition's only true black — is the material anchor, its aged paper introducing a granular, time-worn texture that no new surface in the room could supply. The terrier, coincidentally or not, participates in this material scheme: a wiry tan-and-black coat that reads as a textile in its own right, tonally identical to the leather beneath it. The lighting design is layered, warm-Kelvin and almost entirely artificial in its narrative effect, though the scene depends on a critical unseen source. A shaft of low, raking daylight enters from the right — presumably a window outside the frame — and lands as a hard-edged parallelogram across the parquet and the chair's front rail, creating the image's strongest contrast and lending the floor a sense of temporal specificity: late afternoon, low sun. Against this, three artificial layers operate. The surface-mounted picture light washes the nautical chart in an even, slightly amber flood, functioning as accent lighting that establishes the chart as the room's hierarchical focus. Concealed strip lighting beneath the upper casework grazes the left-hand desk return, providing task illumination and articulating the millwork's shadow line. Ambient fill is minimal and deliberately so; the corners of the niche fall into soft, unresolved shadow, and the whole tableau is rendered in a narrow tonal band of amber and umber that suppresses cool light almost entirely. The resulting atmosphere is one of burnished interiority — hushed, crepuscular, protective. Stylistically, the room resists easy categorization but sits most comfortably within a contemporary *Warm Traditionalism* or refined **Anglo-American Modern Classic** idiom: the vocabulary is unmistakably tailored-traditional (nailhead-trimmed leather, mortise hardware, framed cartography, a Deco-inflected barrel-back desk chair), yet the detailing is stripped of ornament — no cornice, no panel molding, no applied millwork profile — and the casework is resolved with the flush, planar minimalism of a mid-century yacht interior. It is, in essence, a *cabinet de travail* reimagined through the discipline of modern joinery: a room that borrows the emotional register of the club library while adopting the reductive geometry of contemporary architecture. The dog, unhurried and centrally enthroned, is the final aesthetic argument — evidence that the space is not a set piece but a lived, occupied, and evidently affectionate interior.

Photos are of a traditional home we completed in summer 2016 using the new woodtone finish over james hardie fiber cement siding. Boral stacked stone was also used on front porch area to give it some splash. Photo Credits: Moniece Vigil

A home office was converted into a full service sports bar. A large temperature controlled wine cellar is the backdrop. Walls are covered in brick arches and herringbone, while floors are soft tile pavers. This room has space to seat 20. It has three televisions, a refrigerated wine room, a fireplace and even a secret door. The ceiling tiles are authentic stamped tin. Behind the counter are taps for two kegs, soda machine, custom ice makers, glass chillers and a full professional service bar.

Dock - large contemporary backyard dock idea with no cover

Shown: Kährs Lux Sun wood flooring Kährs have launched two new ultra-matt wood flooring collections, Lux and Lumen. Recently winning Gold for 'Best Flooring' at the 2017 House Beautiful Awards, Kährs' Lux collection includes nine one-strip plank format designs in an array of natural colours, which are mirrored in Lumen's three-strip designs. The new surface treatment applied to the designs is non reflective; enhancing the colour and beauty of real wood, whilst giving a silky, yet strong shield against wear and tear. Emanuel Lidberg, Head of Design at Kährs Group, says, “Lux and Lumen have been developed for design-led interiors, with abundant natural light, for example with floor-to-ceiling glazing. Traditional lacquer finishes reflect light which distracts from the floor’s appearance. Our new, ultra-matt finish minimizes reflections so that the wood’s natural grain and tone can be appreciated to the full." The contemporary Lux Collection features nine floors spanning from the milky white "Ash Air" to the earthy, deep-smoked "Oak Terra". Kährs' Lumen Collection offers mirrored three strip and two-strip designs to complement Lux, or offer an alternative interior look. All designs feature a brushed effect, accentuating the natural grain of the wood. All floors feature Kährs' multi-layered construction, with a surface layer of oak or ash. This engineered format is eco-friendly, whilst also making the floors more stable, and ideal for use with underfloor heating systems. Matching accessories, including mouldings, skirting and handmade stairnosing are also available for the new designs.

After photos of finished new build home.
Large transitional blue two-story vinyl gable roof photo with a shingle roof

One more view of bar area (would want to be wet bar); would likely look to match countertop to kitchen upstairs (presumably white quartz; but open to more cost effective alternatives like concrete shown here)