Construction by Deep Creek Builders, Photography by Sara Rounsavall
Example of a mid-sized transitional l-shaped medium tone wood floor eat-in kitchen design in Louisville with an undermount sink, shaker cabinets, white cabinets, concrete countertops, gray backsplash, ceramic backsplash, stainless steel appliances and an island

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Photo: Elaine Musiwa © 2016 Houzz
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Cherry Custom Cabinets
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A beautiful custom kitchen designed by @thefrenchbasket featuring a premium quality aluminum Reggio grille in our Scroll pattern.
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## Spatial Composition & Architectural Volume This is a kitchen conceived less as a service zone than as a precisely calibrated architectural volume, resolved through an L-configuration of full-height cabinetry that terminates against a monolithic island set on an intentional diagonal to the orthogonal grid of the herringbone flooring. The island's waterfall treatment — a slab returning to the floor in a single unbroken plane — functions as both a peninsular counter and a piece of quasi-sculptural infrastructure, its overhang generating a shallow banquette-adjacent seating zone without resorting to a conventional breakfast bar. Above, a coffered soffit executed in flush drywall with a continuous cove-lit reveal establishes a datum line that both compresses and defines the working core, while the adjacent tray ceiling reads as a distinct volume, spatially decoupling the kitchen from the living room beyond. That threshold is the composition's most disciplined gesture: a wide cased opening framed in mitered rift-cut oak paneling, its architrave articulated as a shadow-gapped reveal rather than applied trim, drawing a deep enfilade sightline through to the window wall, its Roman shades, and the mid-rise cityscape beyond. Millwork here performs structurally as well as visually — the oak-clad pilasters and the fluted, hand-carved textural panel at right operate as pseudo-columnar elements, organizing the plan into legible bays. ## Materiality, Color & Texture The palette is constructed on a deliberate dialectic between two wood registers. The envelope employs a pale, quarter-sawn white oak with a honeyed, faintly amber undertone, its figure suppressed and its finish matte, functioning as a luminous neutral ground. Against this, the cabinetry deploys a deeply fumed or ebonized ash — likely a heavily lacquered, open-grain veneer — where the cathedral figuring is exaggerated into near-graphic striation and the high-gloss sheen produces a lacquered, almost Art Deco lustre. This contrast of value (blonde against bitter chocolate) and of sheen (matte against specular) is the project's principal tension. Mediating between them is the stone: a white quartzite or dolomitic marble with soft grey-taupe veining and a distinctly warm, cream-adjacent field, book-matched across the full-height backsplash and repeated on the island slab, its subtly honed surface refusing the glare of a polished finish. Metallic accents are restrained and consistently warm — satin brass on the pendant canopies and stool footrails, blackened bronze on the hardware, glazing frames, and the stools' slender tubular frames. Textiles introduce a low-frequency counterpoint: nubby bouclé upholstery on the sectional, a striated woven sheer at left, ikat-patterned cushions, and a tonal blue-grey geometric rug that supplies the only chromatic departure from the room's ochre-to-espresso spectrum. ## Lighting, Atmosphere & Style Profile The lighting scheme is layered with unusual rigor. Daylight is admitted obliquely, filtered through the plaid-toned Roman shades of the adjacent living room, so the kitchen receives it secondhand — soft, directional, and already warmed. Artificial light works in three tiers: the recessed cove uplighting that grazes the soffit and dissolves the ceiling's edges; concealed under-cabinet illumination that renders the stone backsplash as a glowing plane; and the pair of spun-brass disc pendants suspended on slender blackened stems, whose downward-facing diffusers deliver a controlled pool of task light while their polished undersides register as small suns in the composition. The absence of visible downlight clutter is notable and disciplined. The resulting atmosphere is enveloping and low-glare — cosseting rather than clinical — with a distinctly residential, almost salon-like decorum reinforced by the framed genre painting hung casually on the oak paneling, a curatorial gesture that domesticates the kitchen decisively. Stylistically, the project reads as **Warm Modernist Luxe**, drawing on the vocabulary of high-craft European cabinetry and mid-century Milanese interiors: the grain-forward veneers, brass discs, and slender bronze seating carry a whisper of 1970s Italian sophistication, while the flush detailing, shadow-gap reveals, and rigorous suppression of ornament situate it firmly in contemporary practice. It is tailored rather than austere — a demonstration that minimalist discipline and material sensuality need not be adversaries.

This Los Altos powder room was transformed from heavy, bulky, and crowded, to spacious with size-appropriate pieces. An overhead scalloped light, and sconces illuminate the unique greige wood wallpaper, and polished nickel fixtures sparkle! Custom grilles cover the exhaust fan and wall register.

A rustic living room with modern touches designed by @thefrenchbasket featuring a premium quality aluminum Reggio grille in our Scroll pattern.
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This custom office area designed by @thefrenchbasket is accented by a premium quality aluminum Reggio grille in our Scroll pattern.
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An elegant custom powder room designed by @thefrenchbasket featuring a premium quality aluminum Reggio grille in our Scroll pattern.
Trendy bathroom photo in Boston

**I. Spatial Composition & Architectural Volume** This powder room operates as a compressed, processional vestibule — a jewel-box volume whose narrowness is deliberately weaponized to intensify the encounter with a single focal event. The plan reads as a tight rectilinear corridor, entered obliquely past a pivoting sculptural door leaf at the left foreground, with the sightline funnelling directly to a recessed alcove at the terminal wall. That alcove is the compositional engine of the room: a deep, orthogonal reveal framed in slender blackened-metal profiles, within which a monolithic marble vanity cantilevers as a full-width plinth, its shadow-gap plinth detail dissolving the mass into apparent levitation. The full-height glazed screens flanking both side walls — divided into a disciplined grid of stile-and-rail metal mullions above a stone dado — introduce a Miesian rhythm of verticals that visually widen the space while preserving enclosure. Above, a crisp plaster soffit with a razor-thin perimeter reveal caps the volume, while the mullion grid's continuation across the ceiling plane and door surround creates a cage-like armature, an architectural drawing rendered in three dimensions. The suspended, wall-hung water closet at left is deliberately subordinated, half-concealed by the stone return, ensuring the axial procession terminates not on plumbing but on art. **II. Materiality, Color & Texture** The material palette is orchestrated as a controlled dialogue between the geologic, the vegetal, and the metallic. Book-matched Calacatta Viola — or a closely related Paonazzo — sheathes the dado and vanity in slabs whose oxblood, umber, and graphite veining reads as gestural brushwork, its cool bone-white ground counterweighted by the warm ferrous rust of its fissures; the veining on the right-hand wall is sequenced to cascade, treating stone as a continuous painterly field rather than a modular cladding. Against this, the foreground door presents a deeply carved, three-dimensional sculpted timber relief in a mid-tone oak or walnut, its undulating, plaited chevron texture introducing a haptic, almost textile-like tactility that provides the composition's most overtly artisanal register. The glazed screens deploy reeded or fluted glass in a smoky sage-olive cast, their striations diffusing and abstracting whatever lies beyond into vertical striae of light — a translucent counterpoint to the opacity of stone and wood. Blackened bronze or patinated steel mullions supply the graphic scaffolding, while unlacquered brass appears as accent punctuation: the gooseneck spout with exposed swivel collar, and, most emphatically, the flame-patinated bronze oval of the mirror frame, whose molten amber bloom is the single high-saturation event in an otherwise desaturated envelope of greys, greiges, and bone. Underfoot, chevron-laid oak parquet in a soft tobacco stain grounds the palette and repeats the door's zigzag geometry at a domestic scale. **III. Lighting, Atmosphere & Style Profile** Lighting is handled with theatrical restraint and a distinctly museological logic. The terminal alcove is backlit by a full-height plane of sheer, pinch-pleated linen sheers washed with daylight — an ambiguous, screened luminance that functions as a lightbox, silhouetting the mirror and reading as a window without conceding a view. Concealed cove or perimeter LED at the soffit reveal lifts the ceiling and grazes the plaster, while the reeded glass side screens capture and refract borrowed light along their flutes, producing a soft vertical shimmer that keeps the narrow volume from collapsing into gloom. The lower register is intentionally darker, the recessed shadow gap beneath the vanity and the bronze toe detail anchoring the composition in a low-key, chiaroscuro base. The atmosphere is hushed, contemplative, and faintly ecclesiastical — the alcove operating as a reredos, the framed portrait glimpsed in the mirror's reflection functioning as an unexpected, wry apparition that injects narrative and humor into an otherwise austere scheme. Stylistically, the room synthesizes into what might be termed *Tactile Luxe Modernism* or Refined Warm Modernism: the structural clarity and metal-gridded transparency of mid-century International Style, tempered by Italian post-war sensuality in the bronze and marble, and finally humanized by contemporary craft-forward texture. The result is a space of considerable discipline that nonetheless privileges touch, patina, and surprise over minimalist abstinence.

A custom decorative indoor air grille vent that leaves you with a modern custom look to your surface; vinyl, hardwood, tile, carpet, drywall, etc. For residential air registers. Shop high-end flush mount air registers for floor vents, baseboard registers, wall vents for residential HVAC heating and cooling.

A flush Aria vent sits within the pale wood flooring, with a narrow black border around its wood-matched centre. The rectangular register keeps the floor surface visually continuous. This detail shows the integrated ventilation finish used throughout the renovated interior. The Perfect Beam House in the Junction, Toronto, is a Cedarstone Group Inc. whole-home renovation featuring an open kitchen and dining area, coordinated living spaces, a finished basement, custom storage and white-oak stairs. Explore Toronto home renovations, kitchen and bathroom remodels, basement finishing and custom interiors at cedarstonereno.com.

A custom decorative indoor air grille vent that leaves you with a modern custom look to your surface; vinyl, hardwood, tile, carpet, drywall, etc. For residential air registers. Shop high-end flush mount air registers for floor vents, baseboard registers, wall vents for residential HVAC heating and cooling.

Rick McKee
Mid-sized elegant enclosed and formal dark wood floor living room photo with a standard fireplace, a wood fireplace surround and beige walls