Michael J. Lee Photography
Bedroom - mid-sized contemporary guest carpeted bedroom idea in Boston with green walls

This home evokes a sensuous St. Barth lifestyle on Lake Michigan, designed for globetrotting clients who wanted a weekend sanctuary near their primary residence in Chicago. The project brief included open plan living for entertaining, a family lounge, and bedroom suites for houseguests. The first level is a glass rectangular volume that makes the second level appear to float over the dune and offers water views through the structure. Clad in Accoya, the upper level will gray with age and blend into the landscape. These two horizontal volumes are connected by a double-height glass entry space that reveals a floating staircase. A contemporary beach aesthetic unifies the interior through an edited palette of materials, including white oak millwork, large-format porcelain tile, and a range of warm whites. Interior tile extends out to the pool terrace, uniting the spaces and amplifying the connection to the outdoors. The landscape design enhances the experience. A courtyard with sculptural Ginkgo trees offers refuge from lake breezes. On the pool terrace, custom Cor-Ten planters overflow with Russian Sage, selected for graceful foliage that sways in the breeze and offers a relaxing herbal aroma.

This home evokes a sensuous St. Barth lifestyle on Lake Michigan, designed for globetrotting clients who wanted a weekend sanctuary near their primary residence in Chicago. The project brief included open plan living for entertaining, a family lounge, and bedroom suites for houseguests. The first level is a glass rectangular volume that makes the second level appear to float over the dune and offers water views through the structure. Clad in Accoya, the upper level will gray with age and blend into the landscape. These two horizontal volumes are connected by a double-height glass entry space that reveals a floating staircase. A contemporary beach aesthetic unifies the interior through an edited palette of materials, including white oak millwork, large-format porcelain tile, and a range of warm whites. Interior tile extends out to the pool terrace, uniting the spaces and amplifying the connection to the outdoors. The landscape design enhances the experience. A courtyard with sculptural Ginkgo trees offers refuge from lake breezes. On the pool terrace, custom Cor-Ten planters overflow with Russian Sage, selected for graceful foliage that sways in the breeze and offers a relaxing herbal aroma.

Birdhouse Exterior - Alley Facing
Example of a small trendy garage design in Austin

Tucked away behind the primary residence is a tidy and well-lite Accessory Dwelling Unit (ADU) sporting a full bath and bedroom, and an open-floor-plan living space that leaves plenty of room for the corner kitchen and office nook. The unit features the same quality rift-sawn white oak and Marvin window collection as the main house, creating a homey and elegant small living space.

Example of a transitional bedroom design in Indianapolis

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.

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 luxurious wet room features a dual shower, built-in bench, freestanding tub, and privacy glass in new windows.
Bathroom - large transitional master gray tile and porcelain tile porcelain tile, vaulted ceiling and multicolored floor bathroom idea in DC Metro with a hinged shower door

KitchenLab Interiors’ first, entirely new construction project in collaboration with GTH architects who designed the residence. KLI was responsible for all interior finishes, fixtures, furnishings, and design including the stairs, casework, interior doors, moldings and millwork. KLI also worked with the client on selecting the roof, exterior stucco and paint colors, stone, windows, and doors. The homeowners had purchased the existing home on a lakefront lot of the Valley Lo community in Glenview, thinking that it would be a gut renovation, but when they discovered a host of issues including mold, they decided to tear it down and start from scratch. The minute you look out the living room windows, you feel as though you're on a lakeside vacation in Wisconsin or Michigan. We wanted to help the homeowners achieve this feeling throughout the house - merging the causal vibe of a vacation home with the elegance desired for a primary residence. This project is unique and personal in many ways - Rebekah and the homeowner, Lorie, had grown up together in a small suburb of Columbus, Ohio. Lorie had been Rebekah's babysitter and was like an older sister growing up. They were both heavily influenced by the style of the late 70's and early 80's boho/hippy meets disco and 80's glam, and both credit their moms for an early interest in anything related to art, design, and style. One of the biggest challenges of doing a new construction project is that it takes so much longer to plan and execute and by the time tile and lighting is installed, you might be bored by the selections of feel like you've seen them everywhere already. “I really tried to pull myself, our team and the client away from the echo-chamber of Pinterest and Instagram. We fell in love with counter stools 3 years ago that I couldn't bring myself to pull the trigger on, thank god, because then they started showing up literally everywhere", Rebekah recalls. Lots of one of a kind vintage rugs and furnishings make the home feel less brand-spanking new. The best projects come from a team slightly outside their comfort zone. One of the funniest things Lorie says to Rebekah, "I gave you everything you wanted", which is pretty hilarious coming from a client to a designer.

Tucked away behind the primary residence is a tidy and well-lite Accessory Dwelling Unit (ADU) sporting a full bath and bedroom, and an open-floor-plan living space that leaves plenty of room for the corner kitchen and office nook. The unit features the same quality rift-sawn white oak and Marvin window collection as the main house, creating a homey and elegant small living space.

White Kitchen, Modern Interiors: Britt Taner Design Photography: Tony Soluri Photography
Example of a trendy light wood floor eat-in kitchen design in Chicago with flat-panel cabinets, white cabinets, white backsplash, glass sheet backsplash, stainless steel appliances and an island

This 400 s.f. studio apartment in NYC’s Greenwich Village serves as a pied-a-terre for clients whose primary residence is on the West Coast. Although the clients do not reside here full-time, this tiny space accommodates all the creature comforts of home. Bleached hardwood floors, crisp white walls, and high ceilings are the backdrop to a custom blackened steel and glass partition, layered with raw silk sheer draperies, to create a private sleeping area, replete with custom built-in closets. Simple headboard and crisp linens are balanced with a lightly-metallic glazed duvet and a vintage textile pillow. The living space boasts a custom Belgian linen sectional sofa that pulls out into a full-size bed for the couple’s young children who sometimes accompany them. Efficient and inexpensive dining furniture sits comfortably in the main living space and lends clean, Scandinavian functionality for sharing meals. The sculptural handrafted metal ceiling mobile offsets the architecture’s clean lines, defining the space while accentuating the tall ceilings. The kitchenette combines custom cool grey lacquered cabinets with brass fittings, white beveled subway tile, and a warm brushed brass backsplash; an antique Boucherouite runner and textural woven stools that pull up to the kitchen’s coffee counter punctuate the clean palette with warmth and the human scale. The under-counter freezer and refrigerator, along with the 18” dishwasher, are all panelled to match the cabinets, and open shelving to the ceiling maximizes the feeling of the space’s volume. The entry closet doubles as home for a combination washer/dryer unit. The custom bathroom vanity, with open brass legs sitting against floor-to-ceiling marble subway tile, boasts a honed gray marble countertop, with an undermount sink offset to maximize precious counter space and highlight a pendant light. A tall narrow cabinet combines closed and open storage, and a recessed mirrored medicine cabinet conceals additional necessaries. The stand-up shower is kept minimal, with simple white beveled subway tile and frameless glass doors, and is large enough to host a teak and stainless bench for comfort; black sink and bath fittings ground the otherwise light palette. What had been a generic studio apartment became a rich landscape for living.

KitchenLab Interiors’ first, entirely new construction project in collaboration with GTH architects who designed the residence. KLI was responsible for all interior finishes, fixtures, furnishings, and design including the stairs, casework, interior doors, moldings and millwork. KLI also worked with the client on selecting the roof, exterior stucco and paint colors, stone, windows, and doors. The homeowners had purchased the existing home on a lakefront lot of the Valley Lo community in Glenview, thinking that it would be a gut renovation, but when they discovered a host of issues including mold, they decided to tear it down and start from scratch. The minute you look out the living room windows, you feel as though you're on a lakeside vacation in Wisconsin or Michigan. We wanted to help the homeowners achieve this feeling throughout the house - merging the causal vibe of a vacation home with the elegance desired for a primary residence. This project is unique and personal in many ways - Rebekah and the homeowner, Lorie, had grown up together in a small suburb of Columbus, Ohio. Lorie had been Rebekah's babysitter and was like an older sister growing up. They were both heavily influenced by the style of the late 70's and early 80's boho/hippy meets disco and 80's glam, and both credit their moms for an early interest in anything related to art, design, and style. One of the biggest challenges of doing a new construction project is that it takes so much longer to plan and execute and by the time tile and lighting is installed, you might be bored by the selections of feel like you've seen them everywhere already. “I really tried to pull myself, our team and the client away from the echo-chamber of Pinterest and Instagram. We fell in love with counter stools 3 years ago that I couldn't bring myself to pull the trigger on, thank god, because then they started showing up literally everywhere", Rebekah recalls. Lots of one of a kind vintage rugs and furnishings make the home feel less brand-spanking new. The best projects come from a team slightly outside their comfort zone. One of the funniest things Lorie says to Rebekah, "I gave you everything you wanted", which is pretty hilarious coming from a client to a designer.

Primary Bedroom in Yellowstone Club, Big Sky, Montana
Bedroom - modern bedroom idea in Other

This 400 s.f. studio apartment in NYC’s Greenwich Village serves as a pied-a-terre for clients whose primary residence is on the West Coast. Although the clients do not reside here full-time, this tiny space accommodates all the creature comforts of home. Bleached hardwood floors, crisp white walls, and high ceilings are the backdrop to a custom blackened steel and glass partition, layered with raw silk sheer draperies, to create a private sleeping area, replete with custom built-in closets. Simple headboard and crisp linens are balanced with a lightly-metallic glazed duvet and a vintage textile pillow. The living space boasts a custom Belgian linen sectional sofa that pulls out into a full-size bed for the couple’s young children who sometimes accompany them. Efficient and inexpensive dining furniture sits comfortably in the main living space and lends clean, Scandinavian functionality for sharing meals. The sculptural handrafted metal ceiling mobile offsets the architecture’s clean lines, defining the space while accentuating the tall ceilings. The kitchenette combines custom cool grey lacquered cabinets with brass fittings, white beveled subway tile, and a warm brushed brass backsplash; an antique Boucherouite runner and textural woven stools that pull up to the kitchen’s coffee counter puntuate the clean palette with warmth and the human scale. The under-counter freezer and refrigerator, along with the 18” dishwasher, are all panelled to match the cabinets, and open shelving to the ceiling maximizes the feeling of the space’s volume. The entry closet doubles as home for a combination washer/dryer unit. The custom bathroom vanity, with open brass legs sitting against floor-to-ceiling marble subway tile, boasts a honed gray marble countertop, with an undermount sink offset to maximize precious counter space and highlight a pendant light. A tall narrow cabinet combines closed and open storage, and a recessed mirrored medicine cabinet conceals additional necessaries. The stand-up shower is kept minimal, with simple white beveled subway tile and frameless glass doors, and is large enough to host a teak and stainless bench for comfort; black sink and bath fittings ground the otherwise light palette. What had been a generic studio apartment became a rich landscape for living.

Example of a transitional bathroom design in Boston

Michael J. Lee Photography
Mid-sized ornate open concept light wood floor family room photo in Boston with beige walls

This 400 s.f. studio apartment in NYC’s Greenwich Village serves as a pied-a-terre for clients whose primary residence is on the West Coast. Although the clients do not reside here full-time, this tiny space accommodates all the creature comforts of home. Bleached hardwood floors, crisp white walls, and high ceilings are the backdrop to a custom blackened steel and glass partition, layered with raw silk sheer draperies, to create a private sleeping area, replete with custom built-in closets. Simple headboard and crisp linens are balanced with a lightly-metallic glazed duvet and a vintage textile pillow. The living space boasts a custom Belgian linen sectional sofa that pulls out into a full-size bed for the couple’s young children who sometimes accompany them. Efficient and inexpensive dining furniture sits comfortably in the main living space and lends clean, Scandinavian functionality for sharing meals. The sculptural handcrafted metal ceiling mobile offsets the architecture’s clean lines, defining the space while accentuating the tall ceilings. The kitchenette combines custom cool grey lacquered cabinets with brass fittings, white beveled subway tile, and a warm brushed brass backsplash; an antique Boucherouite runner and textural woven stools that pull up to the kitchen’s coffee counter punctuate the clean palette with warmth and the human scale. The under-counter freezer and refrigerator, along with the 18” dishwasher, are all panelled to match the cabinets, and open shelving to the ceiling maximizes the feeling of the space’s volume. The entry closet doubles as home for a combination washer/dryer unit. The custom bathroom vanity, with open brass legs sitting against floor-to-ceiling marble subway tile, boasts a honed gray marble countertop, with an undermount sink offset to maximize precious counter space and highlight a pendant light. A tall narrow cabinet combines closed and open storage, and a recessed mirrored medicine cabinet conceals additional necessaries. The stand-up shower is kept minimal, with simple white beveled subway tile and frameless glass doors, and is large enough to host a teak and stainless bench for comfort; black sink and bath fittings ground the otherwise light palette. What had been a generic studio apartment became a rich landscape for living.