This residence was a complete gut renovation of a 4-story row house in Park Slope, and included a new rear extension and penthouse addition. The owners wished to create a warm, family home using a modern language that would act as a clean canvas to feature rich textiles and items from their world travels. As with most Brooklyn row houses, the existing house suffered from a lack of natural light and connection to exterior spaces, an issue that Principal Brendan Coburn is acutely aware of from his experience re-imagining historic structures in the New York area. The resulting architecture is designed around moments featuring natural light and views to the exterior, of both the private garden and the sky, throughout the house, and a stripped-down language of detailing and finishes allows for the concept of the modern-natural to shine. Upon entering the home, the kitchen and dining space draw you in with views beyond through the large glazed opening at the rear of the house. An extension was built to allow for a large sunken living room that provides a family gathering space connected to the kitchen and dining room, but remains distinctly separate, with a strong visual connection to the rear garden. The open sculptural stair tower was designed to function like that of a traditional row house stair, but with a smaller footprint. By extending it up past the original roof level into the new penthouse, the stair becomes an atmospheric shaft for the spaces surrounding the core. All types of weather – sunshine, rain, lightning, can be sensed throughout the home through this unifying vertical environment. The stair space also strives to foster family communication, making open living spaces visible between floors. At the upper-most level, a free-form bench sits suspended over the stair, just by the new roof deck, which provides at-ease entertaining. Oak was used throughout the home as a unifying material element. As one travels upwards within the house, the oak finishes are bleached to further degrees as a nod to how light enters the home. The owners worked with CWB to add their own personality to the project. The meter of a white oak and blackened steel stair screen was designed by the family to read “I love you” in Morse Code, and tile was selected throughout to reference places that hold special significance to the family. To support the owners’ comfort, the architectural design engages passive house technologies to reduce energy use, while increasing air quality within the home – a strategy which aims to respect the environment while providing a refuge from the harsh elements of urban living. This project was published by Wendy Goodman as her Space of the Week, part of New York Magazine’s Design Hunting on The Cut. Photography by Kevin Kunstadt

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 residence was a complete gut renovation of a 4-story row house in Park Slope, and included a new rear extension and penthouse addition. The owners wished to create a warm, family home using a modern language that would act as a clean canvas to feature rich textiles and items from their world travels. As with most Brooklyn row houses, the existing house suffered from a lack of natural light and connection to exterior spaces, an issue that Principal Brendan Coburn is acutely aware of from his experience re-imagining historic structures in the New York area. The resulting architecture is designed around moments featuring natural light and views to the exterior, of both the private garden and the sky, throughout the house, and a stripped-down language of detailing and finishes allows for the concept of the modern-natural to shine. Upon entering the home, the kitchen and dining space draw you in with views beyond through the large glazed opening at the rear of the house. An extension was built to allow for a large sunken living room that provides a family gathering space connected to the kitchen and dining room, but remains distinctly separate, with a strong visual connection to the rear garden. The open sculptural stair tower was designed to function like that of a traditional row house stair, but with a smaller footprint. By extending it up past the original roof level into the new penthouse, the stair becomes an atmospheric shaft for the spaces surrounding the core. All types of weather – sunshine, rain, lightning, can be sensed throughout the home through this unifying vertical environment. The stair space also strives to foster family communication, making open living spaces visible between floors. At the upper-most level, a free-form bench sits suspended over the stair, just by the new roof deck, which provides at-ease entertaining. Oak was used throughout the home as a unifying material element. As one travels upwards within the house, the oak finishes are bleached to further degrees as a nod to how light enters the home. The owners worked with CWB to add their own personality to the project. The meter of a white oak and blackened steel stair screen was designed by the family to read “I love you” in Morse Code, and tile was selected throughout to reference places that hold special significance to the family. To support the owners’ comfort, the architectural design engages passive house technologies to reduce energy use, while increasing air quality within the home – a strategy which aims to respect the environment while providing a refuge from the harsh elements of urban living. This project was published by Wendy Goodman as her Space of the Week, part of New York Magazine’s Design Hunting on The Cut. Photography by Kevin Kunstadt

This residence was a complete gut renovation of a 4-story row house in Park Slope, and included a new rear extension and penthouse addition. The owners wished to create a warm, family home using a modern language that would act as a clean canvas to feature rich textiles and items from their world travels. As with most Brooklyn row houses, the existing house suffered from a lack of natural light and connection to exterior spaces, an issue that Principal Brendan Coburn is acutely aware of from his experience re-imagining historic structures in the New York area. The resulting architecture is designed around moments featuring natural light and views to the exterior, of both the private garden and the sky, throughout the house, and a stripped-down language of detailing and finishes allows for the concept of the modern-natural to shine. Upon entering the home, the kitchen and dining space draw you in with views beyond through the large glazed opening at the rear of the house. An extension was built to allow for a large sunken living room that provides a family gathering space connected to the kitchen and dining room, but remains distinctly separate, with a strong visual connection to the rear garden. The open sculptural stair tower was designed to function like that of a traditional row house stair, but with a smaller footprint. By extending it up past the original roof level into the new penthouse, the stair becomes an atmospheric shaft for the spaces surrounding the core. All types of weather – sunshine, rain, lightning, can be sensed throughout the home through this unifying vertical environment. The stair space also strives to foster family communication, making open living spaces visible between floors. At the upper-most level, a free-form bench sits suspended over the stair, just by the new roof deck, which provides at-ease entertaining. Oak was used throughout the home as a unifying material element. As one travels upwards within the house, the oak finishes are bleached to further degrees as a nod to how light enters the home. The owners worked with CWB to add their own personality to the project. The meter of a white oak and blackened steel stair screen was designed by the family to read “I love you” in Morse Code, and tile was selected throughout to reference places that hold special significance to the family. To support the owners’ comfort, the architectural design engages passive house technologies to reduce energy use, while increasing air quality within the home – a strategy which aims to respect the environment while providing a refuge from the harsh elements of urban living. This project was published by Wendy Goodman as her Space of the Week, part of New York Magazine’s Design Hunting on The Cut. Photography by Kevin Kunstadt

AVENTURA MAGAZINE selected our client’s Bath Club luxury 5000 Sf ocean front apartment in Miami Beach, to publish it in their issue and they Said: Story by Linda Marx, Photography by Pablo Corredor Light & Bright! …… 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, 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, 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. 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, Interior design decorator, Modern, Pent house design, white interiors, Miami, South Miami, Miami Beach, South Beach, Williams Island, Sunny Isles, Surfside, Fisher Island, Aventura, Brickell, Brickell Key, Key Biscayne, Coral Gables, CocoPlum, Coconut Grove, Pinecrest, Miami Design District, Golden Beach, Downtown Miami, Miami Interior Designers, Miami Interior Designer, Interior Designers Miami, Modern Interior Designers, Modern Interior Designer, Modern interior decorators, Contemporary Interior Designers, Interior decorators, Interior decorator , Interior designer, Interior designers, Luxury, modern, best, unique, real estate, decor J Design Group – Miami Interior Design Firm – Modern – Contemporary Contact us: (305) 444-4611 http://www.JDesignGroup.com

This residence was a complete gut renovation of a 4-story row house in Park Slope, and included a new rear extension and penthouse addition. The owners wished to create a warm, family home using a modern language that would act as a clean canvas to feature rich textiles and items from their world travels. As with most Brooklyn row houses, the existing house suffered from a lack of natural light and connection to exterior spaces, an issue that Principal Brendan Coburn is acutely aware of from his experience re-imagining historic structures in the New York area. The resulting architecture is designed around moments featuring natural light and views to the exterior, of both the private garden and the sky, throughout the house, and a stripped-down language of detailing and finishes allows for the concept of the modern-natural to shine. Upon entering the home, the kitchen and dining space draw you in with views beyond through the large glazed opening at the rear of the house. An extension was built to allow for a large sunken living room that provides a family gathering space connected to the kitchen and dining room, but remains distinctly separate, with a strong visual connection to the rear garden. The open sculptural stair tower was designed to function like that of a traditional row house stair, but with a smaller footprint. By extending it up past the original roof level into the new penthouse, the stair becomes an atmospheric shaft for the spaces surrounding the core. All types of weather – sunshine, rain, lightning, can be sensed throughout the home through this unifying vertical environment. The stair space also strives to foster family communication, making open living spaces visible between floors. At the upper-most level, a free-form bench sits suspended over the stair, just by the new roof deck, which provides at-ease entertaining. Oak was used throughout the home as a unifying material element. As one travels upwards within the house, the oak finishes are bleached to further degrees as a nod to how light enters the home. The owners worked with CWB to add their own personality to the project. The meter of a white oak and blackened steel stair screen was designed by the family to read “I love you” in Morse Code, and tile was selected throughout to reference places that hold special significance to the family. To support the owners’ comfort, the architectural design engages passive house technologies to reduce energy use, while increasing air quality within the home – a strategy which aims to respect the environment while providing a refuge from the harsh elements of urban living. This project was published by Wendy Goodman as her Space of the Week, part of New York Magazine’s Design Hunting on The Cut. Photography by Kevin Kunstadt

AVENTURA MAGAZINE selected our client’s Bath Club 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! …… 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, 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, 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. 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, Interior design decorator, Modern, Pent house design, white interiors, Miami, South Miami, Miami Beach, South Beach, Williams Island, Sunny Isles, Surfside, Fisher Island, Aventura, Brickell, Brickell Key, Key Biscayne, Coral Gables, CocoPlum, Coconut Grove, Pinecrest, Miami Design District, Golden Beach, Downtown Miami, Miami Interior Designers, Miami Interior Designer, Interior Designers Miami, Modern Interior Designers, Modern Interior Designer, Modern interior decorators, Contemporary Interior Designers, Interior decorators, Interior decorator , Interior designer, Interior designers, Luxury, modern, best, unique, real estate, decor J Design Group – Miami Interior Design Firm – Modern – Contemporary Contact us: (305) 444-4611 http://www.JDesignGroup.com

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This residence was a complete gut renovation of a 4-story row house in Park Slope, and included a new rear extension and penthouse addition. The owners wished to create a warm, family home using a modern language that would act as a clean canvas to feature rich textiles and items from their world travels. As with most Brooklyn row houses, the existing house suffered from a lack of natural light and connection to exterior spaces, an issue that Principal Brendan Coburn is acutely aware of from his experience re-imagining historic structures in the New York area. The resulting architecture is designed around moments featuring natural light and views to the exterior, of both the private garden and the sky, throughout the house, and a stripped-down language of detailing and finishes allows for the concept of the modern-natural to shine. Upon entering the home, the kitchen and dining space draw you in with views beyond through the large glazed opening at the rear of the house. An extension was built to allow for a large sunken living room that provides a family gathering space connected to the kitchen and dining room, but remains distinctly separate, with a strong visual connection to the rear garden. The open sculptural stair tower was designed to function like that of a traditional row house stair, but with a smaller footprint. By extending it up past the original roof level into the new penthouse, the stair becomes an atmospheric shaft for the spaces surrounding the core. All types of weather – sunshine, rain, lightning, can be sensed throughout the home through this unifying vertical environment. The stair space also strives to foster family communication, making open living spaces visible between floors. At the upper-most level, a free-form bench sits suspended over the stair, just by the new roof deck, which provides at-ease entertaining. Oak was used throughout the home as a unifying material element. As one travels upwards within the house, the oak finishes are bleached to further degrees as a nod to how light enters the home. The owners worked with CWB to add their own personality to the project. The meter of a white oak and blackened steel stair screen was designed by the family to read “I love you” in Morse Code, and tile was selected throughout to reference places that hold special significance to the family. To support the owners’ comfort, the architectural design engages passive house technologies to reduce energy use, while increasing air quality within the home – a strategy which aims to respect the environment while providing a refuge from the harsh elements of urban living. This project was published by Wendy Goodman as her Space of the Week, part of New York Magazine’s Design Hunting on The Cut. Photography by Kevin Kunstadt

This meditation bench brings the outside in by featuring a stone as one of the legs to hold up the top, creating a great place to be alone with your thoughts and meditate. This bench is balanced with a hollowed granite leg, ground out by hand with the aid of a diamond drill bit and an angle grinder to provide a more manageable weight. I hand-carved a peek-a-boo opening in the mahogany seat to expose the granite for aesthetic interest while supporting the seat with a custom-fabricated metal bracket underneath for stability. The wooden leg is mortised securely through the top and wedged in place with walnut wedges. The supporting walnut arch spanning from one leg to the underside of the seat is one piece. The arch passes through a mortise in each of the cross braces, which are precisely spaced to provide artistic interest and balance. Each mortise was cut by hand with a mallet and chisel. This silky-smooth bench was built without nails or screws and made from high-quality hardwood, richly-grained African mahogany that begs to be touched. The seat and one leg are African mahogany, and the wedges, arch, and cross braces are walnut. The beautifully placed granite leg is local Colorado granite with natural lichen. The rich reddish-brown mahogany against the subtle soft green color of the lichen provides a sense of stability and harmony. The design inspiration for having the rock poke through the bench top came from an architect friend, who had a granite boulder craned in through the roof of a house and carved into a gas fireplace. The architect’s stories about how challenging the project was to integrate such an organic piece in an otherwise modern home got me thinking about how I could incorporate organic shapes into my furniture. The arch design came from one of my favorite hiking places in the Cascades, a bridge that spans across Multnomah Falls. Since publishing this work, I have been told that the design is stupid as only one person can sit on the bench at a time. Those opinions are the beauty of art, as everyone interprets it differently, and not everyone will get its purpose. However, subconsciously, I think the design spoke well for itself, as its purpose is for one person to be alone and meditate. Its deeper meaning may not be obvious or understood by everyone. However, its design has at least set the stage as only one person can comfortably sit on it at a time. This level of detail is indicative of my work. I try to create a single focal point to catch the viewer’s eye and draw them in. Then, once they get up close to a piece and start interacting with it, they will start to see all the additional details. I like how the bench top is carefully carved so it sits around the stone and how the weight of the stone helps balance the piece. They start to understand how it was built as they see the joinery detail, of how the tenon comes through the top and is wedged in place.

AVENTURA MAGAZINE selected our Bath Club 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 Pablo Corredor Light & Bright! …… 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, 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, 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. 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, Interior design decorator, Modern, Pent house design, white interiors, Miami, South Miami, Miami Beach, South Beach, Williams Island, Sunny Isles, Surfside, Fisher Island, Aventura, Brickell, Brickell Key, Key Biscayne, Coral Gables, CocoPlum, Coconut Grove, Pinecrest, Miami Design District, Golden Beach, Downtown Miami, Miami Interior Designers, Miami Interior Designer, Interior Designers Miami, Modern Interior Designers, Modern Interior Designer, Modern interior decorators, Contemporary Interior Designers, Interior decorators, Interior decorator , Interior designer, Interior designers, Luxury, modern, best, unique, real estate, decor J Design Group – Miami Interior Design Firm – Modern – Contemporary Contact us: (305) 444-4611 http://www.JDesignGroup.com

This meditation bench brings the outside in by featuring a stone as one of the legs to hold up the top, creating a great place to be alone with your thoughts and meditate. This bench is balanced with a hollowed granite leg, ground out by hand with the aid of a diamond drill bit and an angle grinder to provide a more manageable weight. I hand-carved a peek-a-boo opening in the mahogany seat to expose the granite for aesthetic interest while supporting the seat with a custom-fabricated metal bracket underneath for stability. The wooden leg is mortised securely through the top and wedged in place with walnut wedges. The supporting walnut arch spanning from one leg to the underside of the seat is one piece. The arch passes through a mortise in each of the cross braces, which are precisely spaced to provide artistic interest and balance. Each mortise was cut by hand with a mallet and chisel. This silky-smooth bench was built without nails or screws and made from high-quality hardwood, richly-grained African mahogany that begs to be touched. The seat and one leg are African mahogany, and the wedges, arch, and cross braces are walnut. The beautifully placed granite leg is local Colorado granite with natural lichen. The rich reddish-brown mahogany against the subtle soft green color of the lichen provides a sense of stability and harmony. The design inspiration for having the rock poke through the bench top came from an architect friend, who had a granite boulder craned in through the roof of a house and carved into a gas fireplace. The architect’s stories about how challenging the project was to integrate such an organic piece in an otherwise modern home got me thinking about how I could incorporate organic shapes into my furniture. The arch design came from one of my favorite hiking places in the Cascades, a bridge that spans across Multnomah Falls. Since publishing this work, I have been told that the design is stupid as only one person can sit on the bench at a time. Those opinions are the beauty of art, as everyone interprets it differently, and not everyone will get its purpose. However, subconsciously, I think the design spoke well for itself, as its purpose is for one person to be alone and meditate. Its deeper meaning may not be obvious or understood by everyone. However, its design has at least set the stage as only one person can comfortably sit on it at a time. This level of detail is indicative of my work. I try to create a single focal point to catch the viewer’s eye and draw them in. Then, once they get up close to a piece and start interacting with it, they will start to see all the additional details. I like how the bench top is carefully carved so it sits around the stone and how the weight of the stone helps balance the piece. They start to understand how it was built as they see the joinery detail, of how the tenon comes through the top and is wedged in place.

MIAMI HOME AND DECOR MAGAZINE selected our client’s luxury house in Key west Florida to publish it in their issue and they Said: A LIFE IN PARADISE ONE NEWLYWED COUPLE’S HOME MARRIES ELEMENTS OF SAND AND SEA IN KEY WEST NTERIOR DESIGN BY JENNIFER CORREDOR, J DESIGN GROUP, CORAL GABLES, FL TEXT BY CHRISTINE DAVIS PHOTOGRAPHY BY DANIEL NEWCOMB, PALM BEACH GARDENS, FL Homeowner Kirk Holland bought a piece of paradise in Key West’s historic Casa Marina neighborhood after retiring and relocating from Atlanta, Ga. He commissioned architect Matthew Stratton, interior designer Jennifer Corredor, builder Denis Savoie and landscape architect Craig Reynolds to create his dream home. The plan: to set the stage for his proposal to then girlfriend, Judy, and embark on a new phase of his life. Embracing a modern take on the Key West style famed for its pastel-hued, conch-style houses and laid-back attitude, Corredor designed a simple, elegant and unpretentious interior scheme for this 3,900-square-foot home. A tropical sensation flows freely with natural materials and a color palette that reflect the island’s backdrop of sandy beaches, brilliant skies and cresting ocean waves. Polished white-glass tile flooring downstairs contrasts with African teak wood flooring upstairs, while cherry wood paneling and custom wall treatments create texture. To the breezy blue and white theme throughout, the designer added a zest of coral, inspired by the Royal Poinciana tree that frames the arbor by the pool. “The whole idea with ocean hues and wood tones is to emulate the surroundings,” Corredor says. “I think these elements add character to a space, as well as warmth.” The great room reflects Corredor’s light airy approach. In the living area, accent pillows with a coral-print fabric and an “Axiom Glass Thorn” coral-hued bowl, both from Coconut Grove Gallery, add a dash of color as well as organic curves that augment the lines of the sofa and contrast with the angular glass tables. An ode to the home’s Key West atmosphere, Flower In Movement, a painting by artist Martha Dominguez, combines a floral motif with a wavy dimension that echoes the gardens as well as the ocean. “The architect used a NanaWall, which is a special feature,” Corredor says. “It can be pulled all the way back, entirely open, to create a seamless feel that the room carries on from inside to outside.” “SET AMIDST LUSH BOTANICAL GARDENS, THE HOUSE HAS A BEACHY, SPA-LIKE ATMOSPHERE THAT MAKES YOU FEEL LIKE YOU ARE FLOATING,” INTERIOR DESIGNER JENNIFER CORREDOR SAYS. Key west, Florida New York, Miami modern, Contemporary Interior Designers, Modern Interior Designers, Coco Plum Interior Designers, Sunny Isles Interior Designers, Pinecrest Interior Designers, J Design Group interiors, South Florida designers, Best Miami Designers, Miami interiors, Miami décor, Miami Beach Designers, Best Miami Interior Designers, Miami Beach Interiors, Luxurious Design in Miami, Top designers, Deco Miami, Luxury interiors, Miami Beach Luxury Interiors, Miami Interior Design, Miami Interior Design Firms, Beach front, Top Interior Designers, top decor, Top Miami Decorators, Miami luxury condos, modern interiors, Modern, Pent house design, white interiors, Top Miami Interior Decorators, Top Miami Interior Designers, Modern Designers in Miami. J Design Group has created a beautiful interior design in this beautiful house in Key west Florida. Well selected spaces, are very comfortable all along this beautiful 3900 square feet house in Key west Florida.

AVENTURA MAGAZINE selected our client’s Bath Club 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! …… 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, 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, 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. 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, Interior design decorator, Modern, Pent house design, white interiors, Miami, South Miami, Miami Beach, South Beach, Williams Island, Sunny Isles, Surfside, Fisher Island, Aventura, Brickell, Brickell Key, Key Biscayne, Coral Gables, CocoPlum, Coconut Grove, Pinecrest, Miami Design District, Golden Beach, Downtown Miami, Miami Interior Designers, Miami Interior Designer, Interior Designers Miami, Modern Interior Designers, Modern Interior Designer, Modern interior decorators, Contemporary Interior Designers, Interior decorators, Interior decorator , Interior designer, Interior designers, Luxury, modern, best, unique, real estate, decor J Design Group – Miami Interior Design Firm – Modern – Contemporary Contact us: (305) 444-4611 http://www.JDesignGroup.com

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.

Paul Hester
Example of a trendy staircase design in Austin

MIAMI HOME AND DECOR MAGAZINE selected our client’s luxury house in Key west Florida to publish it in their issue and they Said: A LIFE IN PARADISE ONE NEWLYWED COUPLE’S HOME MARRIES ELEMENTS OF SAND AND SEA IN KEY WEST NTERIOR DESIGN BY JENNIFER CORREDOR, J DESIGN GROUP, CORAL GABLES, FL TEXT BY CHRISTINE DAVIS PHOTOGRAPHY BY DANIEL NEWCOMB, PALM BEACH GARDENS, FL Homeowner Kirk Holland bought a piece of paradise in Key West’s historic Casa Marina neighborhood after retiring and relocating from Atlanta, Ga. He commissioned architect Matthew Stratton, interior designer Jennifer Corredor, builder Denis Savoie and landscape architect Craig Reynolds to create his dream home. The plan: to set the stage for his proposal to then girlfriend, Judy, and embark on a new phase of his life. Embracing a modern take on the Key West style famed for its pastel-hued, conch-style houses and laid-back attitude, Corredor designed a simple, elegant and unpretentious interior scheme for this 3,900-square-foot home. A tropical sensation flows freely with natural materials and a color palette that reflect the island’s backdrop of sandy beaches, brilliant skies and cresting ocean waves. Polished white-glass tile flooring downstairs contrasts with African teak wood flooring upstairs, while cherry wood paneling and custom wall treatments create texture. To the breezy blue and white theme throughout, the designer added a zest of coral, inspired by the Royal Poinciana tree that frames the arbor by the pool. “The whole idea with ocean hues and wood tones is to emulate the surroundings,” Corredor says. “I think these elements add character to a space, as well as warmth.” The great room reflects Corredor’s light airy approach. In the living area, accent pillows with a coral-print fabric and an “Axiom Glass Thorn” coral-hued bowl, both from Coconut Grove Gallery, add a dash of color as well as organic curves that augment the lines of the sofa and contrast with the angular glass tables. An ode to the home’s Key West atmosphere, Flower In Movement, a painting by artist Martha Dominguez, combines a floral motif with a wavy dimension that echoes the gardens as well as the ocean. “The architect used a NanaWall, which is a special feature,” Corredor says. “It can be pulled all the way back, entirely open, to create a seamless feel that the room carries on from inside to outside.” “SET AMIDST LUSH BOTANICAL GARDENS, THE HOUSE HAS A BEACHY, SPA-LIKE ATMOSPHERE THAT MAKES YOU FEEL LIKE YOU ARE FLOATING,” INTERIOR DESIGNER JENNIFER CORREDOR SAYS. Key west, Florida New York, Miami modern, Contemporary Interior Designers, Modern Interior Designers, Coco Plum Interior Designers, Sunny Isles Interior Designers, Pinecrest Interior Designers, J Design Group interiors, South Florida designers, Best Miami Designers, Miami interiors, Miami décor, Miami Beach Designers, Best Miami Interior Designers, Miami Beach Interiors, Luxurious Design in Miami, Top designers, Deco Miami, Luxury interiors, Miami Beach Luxury Interiors, Miami Interior Design, Miami Interior Design Firms, Beach front, Top Interior Designers, top decor, Top Miami Decorators, Miami luxury condos, modern interiors, Modern, Pent house design, white interiors, Top Miami Interior Decorators, Top Miami Interior Designers, Modern Designers in Miami. J Design Group has created a beautiful interior design in this beautiful house in Key west Florida. Well selected spaces, are very comfortable all along this beautiful 3900 square feet house in Key west Florida.

Corbin Henry
Example of a tuscan family room design in Sacramento