Casual yet elegant, the Etra Collection by Modern Outdoor offers a modern aesthetic that is constructed for outdoor use while being suitable for indoor settings. Etra’s visual inspiration is derived from its architectural-based frame system. Designed using structural angle steel that is mitered and ground, a clean and seamless surface gives Etra its pure appeal. Frame Options: • 304 stainless steel that is brushed and electropolished • marine-grade 316 stainless steel that is brushed and electropolished for use within one mile of salt air, available for an upcharge • powder coated carbon steel in our standard silver finish • custom powder coat colors, available for an upcharge Surface Options: • sustainably harvested ipe – a beautiful South American hardwood that is three times as dense as teak — naturally resistant to rot, insects, UV exposure, ice, salt, abrasion and splintering – all without the need for toxic chemicals — considered a 25+ year wood • marine-grade polyboard – a UV stabilized high-density polyethylene material that is non-corrosive and chip resistant – available in six colors for expanded design choices Fabric Options: • six standard colors of 100% solution dyed acrylic treated for outdoor use are offered • custom fabrics and COM service are also available Cushion Options: • our standard foam cushions are made from outdoor appropriate high-resiliency (HR) foam • for clients that prefer less maintenance, a flow-through foam that allows water and moisture to escape the cushion is also available for an upcharge Etra is a full-breadth line with dining, bar height, lounge, cafe, patio and pool setting pieces included. The pieces are readily customizable for individual client needs.

Door #10 FP3190 Flat 3 Panel Interior Door with Farmhouse Sticking Solid Poplar stiles and rails MDF panels Painted White 1 x 4 door casing 1 x 6 baseboard Bravura 336B door knob Call us for a quote on your door project 419-684-9582 Visit https://www.door.cc

Filled with symbolic shapes, this living room is a room with meaning. The Gothic arch is an adaptation of the rounded arch, modified during the renaissance period, now as a shape that points towards heaven and to God. We made a round, velvet upholstered ottoman with quatrefoil cut outs. The circle is an endless line, having no beginning and no end, which symbolizes the eternity of God.The quatrefoil symbolizes the four evangelists of the Bible: Matthew, Mark, Luke, and John. The accent table is made of iron, hand forged in our iron shop, and stone. Iron is one of the elements that represents immutability and rigid strength; stone was used in temples for its enduring, solid strength. Stones were used to build alters anywhere one happened to experience a strong spiritual encounter. Soft lighting was achieved by creating a light feature. We built a piece that has art work, finished in our art department, of the apostles and over fifty lighted, hand dripped candles that can be dimmed to set the ambiance of the room. Carved on the front of the piece, as a blessing to the reader, is a portion of Numbers 6:25 "May the LORD make His face shine upon you, And be gracious unto you." To showcase treasured pieces we made a three piece armoire, three representing the Trinity, with hand forged iron insets in the doors. As our colors, we chose gold and red. Gold symbolizes the refinement of the Spirit, royalty and transcendence. Red speaks of the sacrifice given for us. Above the ceiling is painted as a dark sky with the Jerusalem cross. This Jerusalem cross represents Christ's command to spread the Gospel around the world, a mission that started in Jerusalem. It was part of the coat of arms of the short-lived Jerusalem Kingdom (1099-1203 AD). Our choice of dark colors as the background was intentional as it represents the dark sky on Good Friday.

DAPHNE SWIVELS in velvet. A perfect combination of a distinctive sculptural shape with a tall, supportive back and all the fun and function of a swivel. In addition to the great comfort it offers, Daphne’s high back and streamlined style are great for showing off fabric in a striking color, texture or pattern and becoming a strong focal point of a room. Like this style but prefer it stationary? See our Dana Chair. ALLURE ROUND COCKTAIL TABLE: This 42”-round cocktail table has its benefits. Its shape can soften the straight lines that dominate most rooms. And thanks to its materials mix…honed Turkish travertine top and patinaed satin-brass base…it can add warmth to any setting. It’s part of a very versatile living room collection that mixes metal, stone, and wood. Also shown, the Allure side table. The collection also includes a rectangular and a nesting cocktail table, both with eucalyptus-veneer tops instead of travertine. Love how the Powershag rug adds texture to the space. Behind the sofa, our Kimora dining table and Sorrel upholstered dining chairs complete this open-plan room.

The Kangou rocking armchair from Famaliving California is not like your typical rocking chair because it perfectly balances modern flair with comfortable seating. This modern chair is custom made and crafted by the world-renowned Spanish manufacturer Famaliving, which means you’ll gain a piece of furniture that is both ultra comfortable and durable. The frame is strong and made with steel while the seat features cushioned foam for added comfort; plus, the back and loose cushions are made with fibersilk so you can gain even more softness when relaxing. You’ll improve your home’s decor because the Kangou can come upholstered in a wide range of colored and patterned fabrics, with more than 600 different types of fabrics to choose from, including leather. The Kangou rocking armchair by Famaliving is also available with a swivel base design so you can comfortably swivel from direction to another without having to get up.

Example of a large classic enclosed dark wood floor family room design in San Francisco with gray walls, a standard fireplace, a stone fireplace and a wall-mounted tv

The bedroom in this New York City home is a multifunctional serene space that satisfies the homeowners need to have a comfortable place to sleep, and for the woman of the house, a place to read and makeup. Our rug for Doris Leslie Blau fit the bill perfectly and unifies the space in soothing pale blue silk. A fabulous matte pale blue clay vase turned lamp sits on a custom Brett Design chest of drawers accented with our Brett Design Shagreen wallpaper. Soft blue glass cantelievered side tables, a mirrored dressing table, and an inviting Holly Hunt chair beautifully fulfill the other utilitarian needs of the room. The finishing touch- the etherial atmosphere is amplified the window treatments in a very simple finely crinkled sheer by De Le Cuona. Fifth Avenue Apartment | Interior design by Brett Design

2pcs fashion rattan wicker sofa Furniture set will be perfect for outdoor garden, backyard, patio and any other outdoor areas. Featured lightweight but strong rattan wicker and sturdy frame, this combo ensures long-term use. The PE rattan wicker is waterproof and UV-resistant, enabling it to withstand changeable weather. However, extra protection may be needed for some extreme weather conditions. The sleek sponge cushions will adorn your outdoor area. This rattan sofa set is your great companion to improve your quality of life. Features: -Made of high quality PE rattan wicker and steel frame -Lightweight yet durable and quality construction -Excellent hand-weaving technique with fashionable design, sleek and modern -Weatherproof rattan wicker, waterproof and UV resistant -Rattan seat board have corner stiffener for extra support and stability. -Breathable seat cushions add comfort and removable cushion covers are easy to rinse -Perfect for patio, pool side, backyard or other outdoor setting -Sofas can be combined freely according to your interest -Modern and stylish design fits perfectly with any outdoor décor -Assembly Required Specification: -Rattan Color: Black -Cushion Color: Picture Color -Cushion Fabric: polyester fabric and sponge padded -Corner Sofa Size (overall): 29.5" W×29.5"D×24.8" H -Seat Cushion: 25.6” x 25.6” x 3.9” (L x D x Thickness) -Back Cushion: 25.6” x 15.7” x 3.9” (L x D x Thickness) -Arm Rest Cushion: 21.7” x 13.8” x 3.9” (L x D x Thickness) -Weight Capacity for Each Seat: 265 lbs -Rattan: PE -Assembly required Set includes: -2×corner sofa -2×seat cushions -2×back cushions -2× armrest cushions

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This client from North London had recently bought a property in Highgate N6 and during renovation had discovered an original Victorian tiled floor in the hallway. The floor was laid in a classic black and white diamond pattern but unfortunately a large section was missing and had been filled with concrete. Furthermore, most of the remaining floor had been covered in cement and glue. I carried out a survey of the floor to determine the main issues and was then able to email over a quote later that day that included rebuilding the missing section of flooring. I suspect the floor had been excavated at some point in the past to install central heating and then rather than have the excavated section restored it was simply back filled and then levelled with a cement screed before finally gluing down a carpet on top. Once the quote was accepted, I sourced replacement tiles from the Vintage Floor Tile company. Situated in Kent they are a reclamation yard that specialises in supplying original geometric and encaustic tiles including the major historical makers such as Minton and Craven Dunnill. Armed with replacement tiles I started by removing the concrete that had been used to backfill the missing section and prepare a new surface for tiling with quick drying cement. When ready I was able to carefully build back the original pattern using the replacements. The tiles were secured with tile adhesive and once that had gone off, they were grouted. The floor was left to set fully overnight and then the next day I was able to return and clean the whole floor using a strong dilution of Tile Doctor Remove and Go. As usual this was left to soak into the tiles for a good ten minutes before being scrubbed into the tiles using a black scrubbing pad. The Tile Doctor Remove and Go did a good job of cleaning the floor and the cleaning solution soon turned black with dirt during the scrubbing. The floor was rinsed with water and the soil extracted with a wet vacuum. After inspecting the floor any areas that needed further work were hand scrubbed and rinsed again until I was happy the floor was clean. The last part of the cleaning process was to give the tiles an acid wash using Tile Doctor Acid Gel which further cleans the floor by removing old cement residue and grout haze. It also neutralises efflorescent salts in the tiles which are a common issue with floors of this age with no damp proof membrane. After another rinse and extraction, the floor was given a final rinse and then dried as much as possible using the wet vacuum. I left the floor to dry out for a couple of days before returning to apply a protective sealer. Tile and Stone should be dry before sealing so I use a damp meter first to double check. All was well so to seal the tiles I proceeded to apply the first of what would be three coats of sealer. I used Tile Doctor Colour Grow for this, it works by impregnating the tile occupying the pores and thereby preventing dirt from becoming ingrained there. This product also enhances the black and white colour of the tiles and makes the floor much easier to clean. Once done the floor was transformed and needless to say my customer was very pleased with the result. For the aftercare of Victorian Tiled floors, I recommend the use of a ph neural tile cleaner such as Tile Doctor Neutral Cleaner; most supermarket tile cleaners are simply too strong for use on sealed floors and can strip off the sealer prematurely. Andrew Newstead North London Tile Doctor

Light fixture with direct emission, with fluorescent sources • Available with base or fixed support (pivot) made up of mass-coloured concrete • Diffuser in mass-pigmented polypropylene, screen in light-diffusing silkscreened methacrylate, reflector in painted aluminum • Mobile-arm structure in extruded EN-AW-6060 aluminum with bright anodizing treat¬ment • Polished-painted articulations in die-cast EN-AB 46100 aluminum • Adjustment system in AISI 316 stainless steel • Silicone seal gaskets • Suitable for watertight connection • Electronic ballast • c.UL.us listed Lead time: 2 - 4 weeks Lamping explanation: INC = incandescent FLU = fluorescent HAL = 120V halogen LV HAL = 12V halogen MH = metal halide SBF = self-ballasted fluorescent LED = light emitting diode All lamps are included with the fixtures Artemide's design and research team focuses on developing quality and long-lasting products. Utilization of recyclable materials is high priority in our process of conceiving new design. 80% of our lights are energy efficient fluorescent or LED lighting. But what's more green than having a beautifully crafted light that continues to function well and looks stunning decades from now The Artemide light has never been solely a function of seeing, or an opportunity for formal experimentation with lamps as objects. For more than forty years, Artemide has aimed to propose light as a companion to people, as a source of physical pleasure and mental comfort. Artemide has done so, with different work groups, searching through the whole design process, starting with a declaration of values - The human light. Beyond the definition, the human light is intelligent light. A light that knows it has to relate to people, accompanying them in their daily activities. That is why Artemide's attention today is concentrated on the concept of the context of life, understood as a specific microenvironment in which an event occurs where one or more persons are the protagonist, every context of life can be associated with different light contexts, or the different atmospheres of light characterized by the activities that, at various moments of the day, have us as protagonists, starting from these contexts and the lighting conditions that characterize them, Artemide proposes products capable of meeting people's multiple needs and offering the light performance characteristics most suited to each moment of life, it is light that is flexible and adaptable, which produces the optimum visual precision, and consumes the minimum environmental resources, it is Artemide light. The Artemide group, founded by Ernesto Gismondi in 1959, today operates throughout the world, with 16 subsidiaries and affiliated companies, and 35 exclusive distributors. They have production centers in Italy, France, Germany, the USA, Hungary and the Czech Republic. In a policy aimed at satisfying all lighting needs, the Artemide group has recently acquired companies that reinforce its position as a world leader and further diversifies the offerings. For contexts of life, Artemide offers not only lamps for moments of relaxation at home, but also large sophisticated installations for lighting public and private professional activities. Technological and productive expertise is achieved through research and development centers, with the product planning and engineering section, laboratories for technical conformity and self-certification tests, and production units equipped with avant-garde processes. A production structure that can offer expertise in the processing of traditional materials such as glass, as well as the capacity for innovation with recently introduced materials such as titanium. Lighting performance characteristics extend from a light with atmosphere, variable, colored, to the most precise of lights for community environments. The vast range of options reflects the commitment of the whole organization to provide a product guaranteed by the Artemide brand, throughout the world, with an image that is strong and consistent - That of a leader in the lighting industry. Rezek, an Artemide brand, with product development and manufacturing in the United States. Founded by designer Ron Rezek in 1978, the Rezek company has gained strong recognition and appreciation among the architectural and interior design community for the distinctly creative design and quality construction of its American made lighting products for residential and commercial applications.

This tiny home is located on a treelined street in the Kitsilano neighborhood of Vancouver. We helped our client create a living and dining space with a beach vibe in this small front room that comfortably accommodates their growing family of four. The starting point for the decor was the client's treasured antique chaise (positioned under the large window) and the scheme grew from there. We employed a few important space saving techniques in this room... One is building seating into a corner that doubles as storage, the other is tucking a footstool, which can double as an extra seat, under the custom wood coffee table. The TV is carefully concealed in the custom millwork above the fireplace. Finally, we personalized this space by designing a family gallery wall that combines family photos and shadow boxes of treasured keepsakes. Interior Decorating by Lori Steeves of Simply Home Decorating. Photos by Tracey Ayton Photography

The photograph is constructed as a deliberate act of framing — an enfilade view captured through a threshold, in which the aperture of a doorway becomes both proscenium and compositional device. The image is organized around a strong vertical tripartite division: a dark stile of paneled millwork at the left edge, the luminous rectangle of the adjacent sitting room at center, and a substantial pier of figured hardwood joinery at right, terminating in a plinth-like pedestal. This asymmetrical clamping of the bright volume between two dark masses produces a pronounced sense of compression and release, a Wrightian sequencing in which the constricted, wood-lined passage funnels the eye toward the softer, higher-key room beyond. The architectural vocabulary within that inner volume is restrained and orthogonal: crisp painted plaster planes, a shallow soffit or dropped beam crossing the ceiling to modulate the overhead datum, and a simple flat-stock baseboard that reads as a quiet ground line rather than an ornamental flourish. The sightline is layered and telescopic — foreground jamb, mid-ground seating group, background artwork on the far wall — establishing depth through overlapping planes rather than perspectival theatrics. Underfoot, a herringbone-laid oak parquet in the passage gives way to a large-format sisal rug bound in linen tape, its rectilinear geometry reinforcing the axis while softening the transition between circulation and repose. The material argument here is one of calibrated opposition: dense, saturated hardwood against pale, absorptive plaster and textile. The framing joinery — most plausibly a rich mahogany or stained cherry, its cathedral grain and ribbon figure fully legible under raking light — carries a deep oxblood-to-umber tonality and a satin, hand-rubbed sheen that lends the passage a library-like gravity. Against this, the interior room is rendered in a warm off-white with distinctly yellow-ochre undertones, avoiding the clinical chill of a true cool white and instead reading as parchment or unbleached linen. The upholstery — a rolled-arm wing chair and matching ottoman in a camel or buff-toned cotton velvet — supplies the tactile fulcrum of the composition: a napped, light-absorbing pile that contrasts against the coarse, tightly woven boucle of the sisal below and the smooth lacquer of the vertical joinery. Accent notes are sparing and precise: a pale celadon embroidered cushion introduces the only cool chromatic interruption; a rectilinear bench in blond ash with a woven black leather strap deck delivers a graphic, near-Nordic counterpoint; and a monolithic white ceramic vessel atop the pedestal provides a hard, matte punctuation. The abstract work on paper — a gestural monochrome in charcoal, ink and Payne's grey, generously matted behind glass — functions as the room's tonal anchor, its cool achromatics preventing the warm palette from tipping into sentimentality. Sprays of yellow oncidium orchid supply the single high-chroma gesture, echoing the ochre undertone of the walls. The lighting strategy is layered, low-lumen and unapologetically warm, eschewing ambient wash in favor of discrete pools of illumination. A slim linear picture light, bronze-finished and cantilevered from the wall, grazes the artwork with a scalloped throw that reveals the tooth of the paper and establishes the far wall as the room's luminous terminus. A chrome-shaded articulating floor lamp — a modernist task fixture with a distinctly mid-century pedigree — provides a secondary, reflective glint and introduces the only cool metallic in the palette. Daylight enters obliquely and unseen from the left, softly modeling the plaster and the velvet nap without ever flattening the composition; the foreground joinery, meanwhile, sits in deep shadow, its grain caught only in a slow, specular gradient. The cumulative atmosphere is one of hushed, crepuscular intimacy — a room calibrated for reading and retreat rather than reception. Stylistically, the project resolves into a form of Transitional Warm Modernism: the classical proportioning, paneled millwork and rolled-arm seating are drawn from a traditional American vocabulary, yet they are stripped of applied ornament, edited to essentials, and disciplined by the graphic austerity of the abstract art and the blond-and-black bench. It is a sensibility best characterized as quiet luxury — tonal, textural, and materially honest, deriving its authority from the resonance of grain, nap and light rather than from any declarative gesture.

Recently I was called to a house in the very small town of Marton in Warwickshire which is known for its proximity to the medieval “Marton Bridge”, which lies just to the north, crossing the River Leam. The entire downstairs flooring of my client’s house consisted of Quarry tiles apart from one room where the tiles had been covered by screed and then linoleum. Quarry tiles are a classic hard wearing tile used for both internal and external commercial and residential flooring due to its ability to withstand heavy usage. Reception areas, outdoor patios and porches, for example, are commonly tiled using Quarry. My client wanted to restore the covered floor back to its original state so that it would match the rest of the downstairs. Realising that this would be a complex and physically demanding task, my client decided to call in Tile Doctor to carry out the restoration. Removing the Linoleum covering was a relatively straightforward process, so I was able to do this relatively quickly. The main issue concerned removing the screed, which is far more difficult to remove, requiring a lot of physical scraping. Thus I opted to call in some extra manpower in the form of the Nottinghamshire Tile Doctor, Steve Carpenter. With the two of us armed with scrapers we set about removing the screed, taking extra care not to damage the Quarry tile underneath. Once Steve and I had scraped off as much of the screed as physically possible, I applied a strong dilution of Tile Doctor Remove & Go, a stripper with cleaning properties that is particularly effective at breaking down coatings such as adhesives, plasters and sealers. The product was left to dwell for ten minutes before I worked it into the stone with a scrubbing pad. After cleaning the tiles, I noticed a layer of grout haze on the surface of the exposed Quarry tiles, so I applied Tile Doctor Grout Clean-Up to remove it. Once the cleaning process was complete I gave the floor a thorough rinse with clean water, before soaking up the resulting residue with a wet-vac machine. The first day of work was a gruelling 12 hours long, but I was very pleased with the results and left the floor to dry overnight. On day two I returned to finish the job by sealing the newly uncovered Quarry tiles, but not before using a damp meter to check that they were completely dry. Any excess moisture left on unsealed tiles can potentially effect the performance of any sealers that are applied. I sealed the tiles using Tile Doctor Colour Grow, an impregnating, colour-enhancing sealer which gave the surface an aesthetically pleasing shine, as well as durable protection against dirt and wear for the future. After two long days of work the job was done and the transformation was fantastic and highly rewarding to see, the house now has a fantastic looking Quarry tiled floor running throughout the entirety of the lower level. Mick Gayton Warwickshire Tile Doctor

Great spacious bathroom with lot of amenities. Photographer: Jon Upson
Large elegant master beige tile and porcelain tile drop-in bathtub photo in San Diego with an undermount sink, raised-panel cabinets, medium tone wood cabinets, granite countertops, beige walls and a two-piece toilet

Photo: Caela McKeever © 2015 Houzz

Tucked away in the backwoods of Torch Lake, this home marries “rustic” with the sleek elegance of modern. The combination of wood, stone and metal textures embrace the charm of a classic farmhouse. Although this is not your average farmhouse. The home is outfitted with a high performing system that seamlessly works with the design and architecture. The tall ceilings and windows allow ample natural light into the main room. Spire Integrated Systems installed Lutron QS Wireless motorized shades paired with Hartmann & Forbes windowcovers to offer privacy and block harsh light. The custom 18′ windowcover’s woven natural fabric complements the organic esthetics of the room. The shades are artfully concealed in the millwork when not in use. Spire installed B&W in-ceiling speakers and Sonance invisible in-wall speakers to deliver ambient music that emanates throughout the space with no visual footprint. Spire also installed a Sonance Landscape Audio System so the homeowner can enjoy music outside. Each system is easily controlled using Savant. Spire personalized the settings to the homeowner’s preference making controlling the home efficient and convenient.

TruCedar Steel Siding shown in 10" Board & Batten in Napa Vine.
Beige two-story metal exterior home idea in Grand Rapids

This bedroom and full bathroom are part of an adventuresome project my wife and I embarked upon to create a complete apartment in the basement of our townhouse. We designed a floor plan that creatively and efficiently used all of the 385-square-foot-space, without sacrificing beauty, comfort or function – and all without breaking the bank! To maximize our budget, we did the work ourselves and added everything from thrift store finds to DIY wall art to bring it all together. A partial double closet bar adds a little extra space while still leaving room for longer hanging clothes.