Large country u-shaped medium tone wood floor kitchen photo in Milwaukee with white cabinets and a peninsula

Mid-sized elegant carpeted straight staircase photo in New York with carpeted risers

Transitional hallway photo in Houston

Photographer + Stylist: Holly Becker
Home design - modern home design idea in Boston

Photo: Caroline Sharpnack © 2017 Houzz

The ground floor volumes wrapped in an elongated hand-fired brick, emphasizing the horizontality of the architecture that lays solidly on the land. (Photography by: Matthew Millman)

Backsplash: Oriental White Echelon by Olympia Tile + Stone. http://j.mp/1mUoZN6

Inspiration for a small transitional wooden l-shaped wood railing staircase remodel in Austin with wooden risers

Timber + gravel stair with board formed concrete cheek walls and modern railings. Inset landscape lighting allows nighttime way-finding to the utility deck.

Design ideas for a transitional landscaping in Boston.

Originally, the exterior of the Napa ranch residence was a standard knocked down stucco finish. We covered over the entire exterior of the house with a natural plaster product that has been made in Italy for centuries, known as Rialto or Vero. This product is a combination of slaked lime mixed with 60% reconstituted crushed marble dust. Quarried from the legendary Carrara marble mines. The finish itself is a vertically combed striated texture embedded into the plaster. While it cures, a transparent group of patinas are applied to the stone-like plaster substance to create a look of an aged villa.

The concrete stairs connect the exposed aggregate driveway to the rest of the front yard.
Inspiration for a mid-sized modern full sun front yard driveway in San Francisco.

## I. Spatial Composition & Architectural Volume This is a compact urban salon organized with almost Miesian discipline around a single, decisive gesture: the L-configuration of low, tuxedo-armed banquette seating that hugs two perimeter walls and turns the room inward upon itself. The plan reads as a conversation pit without excavation—the seat heights are deliberately suppressed, the backs held low, so that the horizon of upholstery never competes with the aperture behind it. Above, a flat, unadorned plaster soffit-plane is held tight to the wall line, its perimeter reveal drawing a crisp shadow-gap that lets the ceiling appear to float free of the fabric-wrapped walls. The architectural protagonist is the millwork: a deep-jambed picture window recessed within a wide, radiused casing of pale rift-sawn oak, its returns thickened into a continuous window seat and low credenza that transitions seamlessly into flanking cabinetry. This joinery performs double duty as tectonic frame and furniture, resolving the corner where the sofa arm meets the wall with a fitted oak console rather than a leftover void. On the right, a taller oak portal—part case-goods, part passage—houses a monolithic dark media volume, its recessive blackness anchoring the composition's east edge and countering the pull of the glazing. Sightlines are carefully triangulated: the low furniture, the horizontal blind valance, and the parapet railing beyond stack into a series of registers that push the eye out over the rooftops, borrowing the cityscape as a fourth wall. ## II. Materiality, Color & Texture The palette is a study in warm neutrality calibrated across a very narrow tonal band, where interest is generated by texture rather than chroma. Walls are sheathed in a woven grasscloth or linen-weave wallcovering in oatmeal-taupe, its subtle grain absorbing light and lending the envelope a matte, tactile softness that reads almost suede-like in raking illumination. Against this, the oak millwork supplies a honeyed mid-tone with visible cathedral figure, satin-lacquered rather than glossed, so the wood glows without reflecting. Upholstery is a heavy natural linen in flax, deeply channel-tufted and biscuit-quilted—an insistent geometry of dimples and seams that catches light and prevents the mass from flattening. The textile program is where the room permits itself wit: indigo-and-ecru ikat or resist-dyed pillows introduce the only true saturation and the only irregular, hand-made mark; a wool blanket-stripe cushion in wheat, dove, and slate mediates between them; and the tailored roman shade and pinch-pleat drapery, in a subtly striated ombré weave of bronze, sand, and pewter, act as a tonal bridge between wall and wood. Below, the field shifts cool—an abrasi or silk-and-wool rug in ink and petrol blue, overlaid with a sinuous ogee lattice in muted gold, whose viscose sheen produces directional shimmer against the room's otherwise matte disposition. Leather appears twice, in caramel-toned saddle upholstery on the twin benches and ottoman, its topstitched panels and strap-pull detailing offering the crispest edge in the room; the espresso-stained coffee table and plinths supply the necessary chromatic bass note. A single celadon-and-blush ceramic vessel, with its banded, glazed belly, functions as a deliberate polychrome accent—an object of arrested attention within a rigorously restrained field. ## III. Lighting, Atmosphere & Style Profile Daylight is the primary luminaire and it is meticulously managed. The roman shade is dropped to roughly one-third, cropping the sky and glare while framing the mid-ground rooftops—a device that converts an ordinary window into a horizontal, cinematic panorama. Concealed cove or integrated LED lighting within the oak jamb washes the reveal from within, so the window surround reads as a self-illuminated frame and the transition from interior brightness to exterior daylight is softened rather than silhouetted; the same strategy grazes the wall panel behind the sofa, producing a gentle vertical gradient. Artificial light is otherwise almost entirely decorative and directional: a swing-arm wall sconce in antiqued brass with a domed, spun-metal shade cantilevers over the corner console, its low placement establishing a task-scaled pool of warmth and reinforcing the room's insistent horizontality. The resultant atmosphere is hushed, enveloping, and distinctly crepuscular—a lounge tuned for late-afternoon light and low conversation. Stylistically, the project synthesizes a mid-century modern armature—low-slung planar seating, tuxedo arms, brass and dark wood—with the tactile restraint of contemporary Warm Minimalism and a discernible strain of Japanese-influenced spatial editing: deep reveals, floating planes, an appreciation for the void, and objects placed with ikebana-like economy. One might classify it as Refined Urban Modernism, or a bespoke Warm Minimalism, in which luxury is expressed not through ornament but through the precision of joinery, the depth of the material palette, and the discipline with which the view is framed.

New Installation of Red Oak Wood, 3 1/4 in width. White-washed Bona Stain was used, Bona Finish, as well as Bona Traffic HD. **This photo is of the Red Oak Wood (3 1/4 inch) prior to the application of the white-washed Bona Stain.

Detail of LED wall sconce with white glass tile background
Inspiration for a small contemporary kids' white tile and glass tile porcelain tile and gray floor alcove bathtub remodel in New York with flat-panel cabinets, dark wood cabinets, a two-piece toilet, green walls and an integrated sink

wa design
Example of a trendy exterior home design in San Francisco

www.nicholasgingold.com
Example of a classic backyard patio design in Orange County

Wall color: Benjamin Moore Pale Smoke. Basket: Pottery Barn Perry Paper Holder in Havana Weave. Accents: white mirror with white wall-mounted towel hanger with chrome hangers