How do you modernize modernism on a budget? This house had charming midcentury character and lots of potential but had been neglected for many years and was sorely in need of a refresh to bring it up to modern standards of comfort, finish, and sustainability. The tight budget dictated that it would not be a down-to-the-studs, gut remodel, but more of a surgical intervention. Built in 1955, the house had settled on the downhill side, making the floors slope almost 4” from the front to the back of the house. Using an innovative and inexpensive push-pile method, the foundation was reinforced and the house was jacked back up. It now sits solidly on bedrock and the floor is level to within a half-inch throughout. Inside, the original kitchen was worn and needed replacement. This presented an opportunity to remove the walls separating it from the living and dining area and create a wide-open great room with a peninsula counter for guests to gather and an almost continuous wall of windows to take in views of the hills, trees, and bay. Throughout the rest of the house, most finishes were restored, or replaced when necessary. Wood floors were refinished, and new cork flooring, a slightly less durable but much less expensive alternative to tile and similar materials, was used in all wet areas, with the added benefit of warmth and resiliency. The existing textured walls and ceilings were skim-coated smooth with plaster, dark beams painted white, and existing wood wall paneling in the living room was cleaned and color-matched where new pieces were required. All of the existing frameless, direct-glazed windows were replaced with double pane units, and a new floor-to-ceiling window on the south side of the living room provides a key source of natural light. In the bathrooms, existing tile and vanities were saved, and a strangely colored tub and sinks were re-glazed. Flooring, toilets, lighting, double medicine cabinets, and paint in each space make these mostly unaltered rooms feel new again. Sustainability and comfort upgrades include an induction range (step one of an eventual transition to full electrification), spray foam insulation under the floor, spray-in cellulose in the walls, and warm-dim LED lighting throughout on a simple whole-house control system. Combined with a modern thermostat, the house’s systems are all accessible via app from anywhere. And the most sustainable feature of all? What we didn’t do: tear it down and start over. In a country that demolishes a million homes a year- 1% of our residential housing stock- reusing an existing home is the greenest solution of all.

How do you modernize modernism on a budget? This house had charming midcentury character and lots of potential but had been neglected for many years and was sorely in need of a refresh to bring it up to modern standards of comfort, finish, and sustainability. The tight budget dictated that it would not be a down-to-the-studs, gut remodel, but more of a surgical intervention. Built in 1955, the house had settled on the downhill side, making the floors slope almost 4” from the front to the back of the house. Using an innovative and inexpensive push-pile method, the foundation was reinforced and the house was jacked back up. It now sits solidly on bedrock and the floor is level to within a half-inch throughout. Inside, the original kitchen was worn and needed replacement. This presented an opportunity to remove the walls separating it from the living and dining area and create a wide-open great room with a peninsula counter for guests to gather and an almost continuous wall of windows to take in views of the hills, trees, and bay. Throughout the rest of the house, most finishes were restored, or replaced when necessary. Wood floors were refinished, and new cork flooring, a slightly less durable but much less expensive alternative to tile and similar materials, was used in all wet areas, with the added benefit of warmth and resiliency. The existing textured walls and ceilings were skim-coated smooth with plaster, dark beams painted white, and existing wood wall paneling in the living room was cleaned and color-matched where new pieces were required. All of the existing frameless, direct-glazed windows were replaced with double pane units, and a new floor-to-ceiling window on the south side of the living room provides a key source of natural light. In the bathrooms, existing tile and vanities were saved, and a strangely colored tub and sinks were re-glazed. Flooring, toilets, lighting, double medicine cabinets, and paint in each space make these mostly unaltered rooms feel new again. Sustainability and comfort upgrades include an induction range (step one of an eventual transition to full electrification), spray foam insulation under the floor, spray-in cellulose in the walls, and warm-dim LED lighting throughout on a simple whole-house control system. Combined with a modern thermostat, the house’s systems are all accessible via app from anywhere. And the most sustainable feature of all? What we didn’t do: tear it down and start over. In a country that demolishes a million homes a year- 1% of our residential housing stock- reusing an existing home is the greenest solution of all.

How do you modernize modernism on a budget? This house had charming midcentury character and lots of potential but had been neglected for many years and was sorely in need of a refresh to bring it up to modern standards of comfort, finish, and sustainability. The tight budget dictated that it would not be a down-to-the-studs, gut remodel, but more of a surgical intervention. Built in 1955, the house had settled on the downhill side, making the floors slope almost 4” from the front to the back of the house. Using an innovative and inexpensive push-pile method, the foundation was reinforced and the house was jacked back up. It now sits solidly on bedrock and the floor is level to within a half-inch throughout. Inside, the original kitchen was worn and needed replacement. This presented an opportunity to remove the walls separating it from the living and dining area and create a wide-open great room with a peninsula counter for guests to gather and an almost continuous wall of windows to take in views of the hills, trees, and bay. Throughout the rest of the house, most finishes were restored, or replaced when necessary. Wood floors were refinished, and new cork flooring, a slightly less durable but much less expensive alternative to tile and similar materials, was used in all wet areas, with the added benefit of warmth and resiliency. The existing textured walls and ceilings were skim-coated smooth with plaster, dark beams painted white, and existing wood wall paneling in the living room was cleaned and color-matched where new pieces were required. All of the existing frameless, direct-glazed windows were replaced with double pane units, and a new floor-to-ceiling window on the south side of the living room provides a key source of natural light. In the bathrooms, existing tile and vanities were saved, and a strangely colored tub and sinks were re-glazed. Flooring, toilets, lighting, double medicine cabinets, and paint in each space make these mostly unaltered rooms feel new again. Sustainability and comfort upgrades include an induction range (step one of an eventual transition to full electrification), spray foam insulation under the floor, spray-in cellulose in the walls, and warm-dim LED lighting throughout on a simple whole-house control system. Combined with a modern thermostat, the house’s systems are all accessible via app from anywhere. And the most sustainable feature of all? What we didn’t do: tear it down and start over. In a country that demolishes a million homes a year- 1% of our residential housing stock- reusing an existing home is the greenest solution of all.

How do you modernize modernism on a budget? This house had charming midcentury character and lots of potential but had been neglected for many years and was sorely in need of a refresh to bring it up to modern standards of comfort, finish, and sustainability. The tight budget dictated that it would not be a down-to-the-studs, gut remodel, but more of a surgical intervention. Built in 1955, the house had settled on the downhill side, making the floors slope almost 4” from the front to the back of the house. Using an innovative and inexpensive push-pile method, the foundation was reinforced and the house was jacked back up. It now sits solidly on bedrock and the floor is level to within a half-inch throughout. Inside, the original kitchen was worn and needed replacement. This presented an opportunity to remove the walls separating it from the living and dining area and create a wide-open great room with a peninsula counter for guests to gather and an almost continuous wall of windows to take in views of the hills, trees, and bay. Throughout the rest of the house, most finishes were restored, or replaced when necessary. Wood floors were refinished, and new cork flooring, a slightly less durable but much less expensive alternative to tile and similar materials, was used in all wet areas, with the added benefit of warmth and resiliency. The existing textured walls and ceilings were skim-coated smooth with plaster, dark beams painted white, and existing wood wall paneling in the living room was cleaned and color-matched where new pieces were required. All of the existing frameless, direct-glazed windows were replaced with double pane units, and a new floor-to-ceiling window on the south side of the living room provides a key source of natural light. In the bathrooms, existing tile and vanities were saved, and a strangely colored tub and sinks were re-glazed. Flooring, toilets, lighting, double medicine cabinets, and paint in each space make these mostly unaltered rooms feel new again. Sustainability and comfort upgrades include an induction range (step one of an eventual transition to full electrification), spray foam insulation under the floor, spray-in cellulose in the walls, and warm-dim LED lighting throughout on a simple whole-house control system. Combined with a modern thermostat, the house’s systems are all accessible via app from anywhere. And the most sustainable feature of all? What we didn’t do: tear it down and start over. In a country that demolishes a million homes a year- 1% of our residential housing stock- reusing an existing home is the greenest solution of all.

How do you modernize modernism on a budget? This house had charming midcentury character and lots of potential but had been neglected for many years and was sorely in need of a refresh to bring it up to modern standards of comfort, finish, and sustainability. The tight budget dictated that it would not be a down-to-the-studs, gut remodel, but more of a surgical intervention. Built in 1955, the house had settled on the downhill side, making the floors slope almost 4” from the front to the back of the house. Using an innovative and inexpensive push-pile method, the foundation was reinforced and the house was jacked back up. It now sits solidly on bedrock and the floor is level to within a half-inch throughout. Inside, the original kitchen was worn and needed replacement. This presented an opportunity to remove the walls separating it from the living and dining area and create a wide-open great room with a peninsula counter for guests to gather and an almost continuous wall of windows to take in views of the hills, trees, and bay. Throughout the rest of the house, most finishes were restored, or replaced when necessary. Wood floors were refinished, and new cork flooring, a slightly less durable but much less expensive alternative to tile and similar materials, was used in all wet areas, with the added benefit of warmth and resiliency. The existing textured walls and ceilings were skim-coated smooth with plaster, dark beams painted white, and existing wood wall paneling in the living room was cleaned and color-matched where new pieces were required. All of the existing frameless, direct-glazed windows were replaced with double pane units, and a new floor-to-ceiling window on the south side of the living room provides a key source of natural light. In the bathrooms, existing tile and vanities were saved, and a strangely colored tub and sinks were re-glazed. Flooring, toilets, lighting, double medicine cabinets, and paint in each space make these mostly unaltered rooms feel new again. Sustainability and comfort upgrades include an induction range (step one of an eventual transition to full electrification), spray foam insulation under the floor, spray-in cellulose in the walls, and warm-dim LED lighting throughout on a simple whole-house control system. Combined with a modern thermostat, the house’s systems are all accessible via app from anywhere. And the most sustainable feature of all? What we didn’t do: tear it down and start over. In a country that demolishes a million homes a year- 1% of our residential housing stock- reusing an existing home is the greenest solution of all.

How do you modernize modernism on a budget? This house had charming midcentury character and lots of potential but had been neglected for many years and was sorely in need of a refresh to bring it up to modern standards of comfort, finish, and sustainability. The tight budget dictated that it would not be a down-to-the-studs, gut remodel, but more of a surgical intervention. Built in 1955, the house had settled on the downhill side, making the floors slope almost 4” from the front to the back of the house. Using an innovative and inexpensive push-pile method, the foundation was reinforced and the house was jacked back up. It now sits solidly on bedrock and the floor is level to within a half-inch throughout. Inside, the original kitchen was worn and needed replacement. This presented an opportunity to remove the walls separating it from the living and dining area and create a wide-open great room with a peninsula counter for guests to gather and an almost continuous wall of windows to take in views of the hills, trees, and bay. Throughout the rest of the house, most finishes were restored, or replaced when necessary. Wood floors were refinished, and new cork flooring, a slightly less durable but much less expensive alternative to tile and similar materials, was used in all wet areas, with the added benefit of warmth and resiliency. The existing textured walls and ceilings were skim-coated smooth with plaster, dark beams painted white, and existing wood wall paneling in the living room was cleaned and color-matched where new pieces were required. All of the existing frameless, direct-glazed windows were replaced with double pane units, and a new floor-to-ceiling window on the south side of the living room provides a key source of natural light. In the bathrooms, existing tile and vanities were saved, and a strangely colored tub and sinks were re-glazed. Flooring, toilets, lighting, double medicine cabinets, and paint in each space make these mostly unaltered rooms feel new again. Sustainability and comfort upgrades include an induction range (step one of an eventual transition to full electrification), spray foam insulation under the floor, spray-in cellulose in the walls, and warm-dim LED lighting throughout on a simple whole-house control system. Combined with a modern thermostat, the house’s systems are all accessible via app from anywhere. And the most sustainable feature of all? What we didn’t do: tear it down and start over. In a country that demolishes a million homes a year- 1% of our residential housing stock- reusing an existing home is the greenest solution of all.

The grey trend has evolved in the last twelve months. Nowadays browns, beige and a touch of grey are in demand. Greige is the new buzzword. Heavier hand scraped or contoured products, the rage that started around 2005 has taken a back seat in most areas, while a softer wire brushed "ceruse effect" seen mostly on White Oak has been remarkably strong showing no effects of becoming “dated” like the others mentioned. Ceruse Color Possibilities There are numerous color combinations to the "cerused" process with the most popular being white or off white. This design trend in hardwood flooring can have darker gray white oak with a mild ceruse off white effect. There are limitless possibilities in either a prefinished hardwood floor or with what we can create for you in a custom on-site finished hardwood floor. If something suits your fancy, contact us and we can work on creating just the look and sense of style you are looking for.

How do you modernize modernism on a budget? This house had charming midcentury character and lots of potential but had been neglected for many years and was sorely in need of a refresh to bring it up to modern standards of comfort, finish, and sustainability. The tight budget dictated that it would not be a down-to-the-studs, gut remodel, but more of a surgical intervention. Built in 1955, the house had settled on the downhill side, making the floors slope almost 4” from the front to the back of the house. Using an innovative and inexpensive push-pile method, the foundation was reinforced and the house was jacked back up. It now sits solidly on bedrock and the floor is level to within a half-inch throughout. Inside, the original kitchen was worn and needed replacement. This presented an opportunity to remove the walls separating it from the living and dining area and create a wide-open great room with a peninsula counter for guests to gather and an almost continuous wall of windows to take in views of the hills, trees, and bay. Throughout the rest of the house, most finishes were restored, or replaced when necessary. Wood floors were refinished, and new cork flooring, a slightly less durable but much less expensive alternative to tile and similar materials, was used in all wet areas, with the added benefit of warmth and resiliency. The existing textured walls and ceilings were skim-coated smooth with plaster, dark beams painted white, and existing wood wall paneling in the living room was cleaned and color-matched where new pieces were required. All of the existing frameless, direct-glazed windows were replaced with double pane units, and a new floor-to-ceiling window on the south side of the living room provides a key source of natural light. In the bathrooms, existing tile and vanities were saved, and a strangely colored tub and sinks were re-glazed. Flooring, toilets, lighting, double medicine cabinets, and paint in each space make these mostly unaltered rooms feel new again. Sustainability and comfort upgrades include an induction range (step one of an eventual transition to full electrification), spray foam insulation under the floor, spray-in cellulose in the walls, and warm-dim LED lighting throughout on a simple whole-house control system. Combined with a modern thermostat, the house’s systems are all accessible via app from anywhere. And the most sustainable feature of all? What we didn’t do: tear it down and start over. In a country that demolishes a million homes a year- 1% of our residential housing stock- reusing an existing home is the greenest solution of all.

Patio - small traditional backyard stamped concrete patio idea in Denver with no cover

Chris Golden
Inspiration for a transitional carpeted living room remodel in Phoenix with beige walls, a standard fireplace and a tile fireplace

**I. Spatial Composition & Architectural Volume** This is a pre-war Manhattan dining room whose proportions have been surgically clarified rather than reinvented. The room reads as a compressed rectilinear volume, its ceiling plane articulated by a shallow dropped soffit and a single exposed transverse beam — a candid acknowledgment of the building's structural grid, left legible rather than concealed behind a coved plaster surround. That beam performs a quiet spatial function: it registers the threshold between the dining zone and the adjoining passage at right, where a sliver of herringbone parquet and a second curtained aperture extend the sightline into a further room, relieving the enclosure and establishing a discreet enfilade. The composition is emphatically axial and symmetrical — chandelier, floral centerpiece, pedestal table and central window mullion align on a single spine — yet the symmetry is deliberately imperfect: the flanking chairs are turned inward on the diagonal, the sideboard weights the left wall, and the artwork on the right hangs off-axis. The result is a Beaux-Arts discipline softened by a decorator's asymmetry. Most consequential is the pelmet, a deep upholstered box valance carried nearly wall-to-wall, which annexes the window into a single monumental glazed field and visually raises the ceiling by drawing the eye above the actual head height of the sash. **II. Materiality, Color & Texture** The palette is a study in monochromatic warmth held within a narrow tonal band of buff, oatmeal, flax and champagne, with saturation kept deliberately low so that texture carries the burden of variety. Underfoot, a wall-to-wall seagrass or sisal matting with a coarse basketweave provides the room's tactile bass note — hard-wearing, faintly agricultural, and set in productive tension with the refined silk-and-linen sheen of the curtains and pelmet. The chairs are a masterstroke of dual upholstery: matte sand-toned fabric on the outside back and a subtle self-striped ottoman weave on the seat and inner face, a device that renders the seating both plush and graphic. Against this envelope of pale neutrals, two dark accents supply the necessary chromatic gravity: the deeply carved, pierced-apron rosewood or mahogany center table, almost Anglo-Indian in its fretwork and baluster pedestal, and the ebonized klismos-splayed chair legs that echo it. The left wall introduces a painted, dry-brushed Gustavian-style commode with lozenge-fretwork doors, its chalky grey-green a cool counterpoint, while gilt frames, a burnished picture light and the silvered chandelier thread a metallic warmth through the whole. **III. Lighting, Atmosphere & Style Profile** Daylight is the room's primary illuminant and it is handled with restraint: the curtains are dressed open but the roman-like sheer inner treatment diffuses the light into a milky, north-facing wash that flattens shadow and flatters the neutral surfaces. Artificial lighting is layered and entirely decorative in expression — the tall, attenuated candle-arm chandelier, hung low and generously scaled, functions as sculpture and as the room's compositional keystone, while two swing-arm brass picture lights provide directional accents that anchor the art as evening focal points. There is no visible downlighting or recessed apparatus; the mood is candlelit, hushed and faintly nocturnal even in daytime. Stylistically the room resolves into what might be termed **Refined Neutral Traditionalism** — an American-classical, Bilhuber-adjacent idiom that marries eighteenth-century Swedish and Anglo-colonial furniture archetypes with contemporary tailoring, tonal upholstery and humble natural-fiber flooring. Its sophistication lies precisely in that calibration: heirloom silhouettes stripped of pattern and color noise, so that carving, weave and gilding become the sole ornamental language.

This modern bathroom wall is a very dark grey tile made from recycled stone dust. Its color is PB 3106 Dark Grey and is in the brushed texture.
Example of a mid-sized minimalist master gray tile and stone tile bathroom design in Miami with gray walls

Covid During Construction and Making Face Masks Dear Houzz Folks, We've started getting back to work and are educating everyone at our projects on how to be safe during COVID, posting signage, and we've been making masks for our employees, colleagues, friends, family etc... Here's some information on what I've learned so far in sewing the best fitting face mask for COVID. 1. Put in a wire at the nose bridge (about 3.5 inches) - it helps with fit and if you wear glasses, it keeps them from fogging up. I found that doorbell wire, available at the hardware store, seems to work well. It isn't too thin or too fat, bends easily and holds its shape. I attach it by using a zigzag stitch on the interior seam of the outside of the mask (so there's a bit more cushion on the inside). 2. For the shaped masks, I make a pocket in case my friends, family, colleagues, want to insert a filter - it also allows for three layers of fabric in the breathing area and less bulk where the ties go. For patterns that don't offer pockets, I just make my own pattern pocket. I also first baste the two inside pieces first and then sew the front on. This way, there's no worries about slipping. No pins are needed and no pins minimizes the number of extra air holes in the fabric. 3. So that the ties/loops can be replaced or modified, I make a channel for rather than sewing it in permanently. Many videos show using a safety pin to pull the elastic through. If you sew much, you might have a bodkin in your sewing box, but it might be a bit too wide. Instead, I use a long hairpin (you could probably make a long loop with a paper clip). I run the hairpin through the channel, loop the elastic through the end of the pin and pull through. That takes much less time than piercing it with a safety-pin. 4. For the inside of the masks, it is nice to have softer fabric inside, so high-thread-count sheets purchased on sale work great. Then you can easily tell what is inside as well. 5. For surgical-style masks, there's a pattern with a pocket on the inside and a wire. I like the ideas in this video but use 2 fabrics and make them bigger. About a 9x9 inch for the outside and 9x8 inch for the inside. 5/8 seam on the nose and 1/4 seam on the bottom. 6. For the fitted masks, there are two patterns that I like. For this one, https://moinliz.de/mundschutz-naehen-mit-schnittmuster it expects you to print on European-sized paper, so if you want to get the size right, print at 100% I also really like this pattern and I added a pocket and lengthened the ends to make channels https://intermountainhealthcare.org/covid19-coronavirus/homemade-cloth-face-coverings/ (scroll down to a link to download the pdf) Lots of folks sew craftpassion, but I like the fit of these patterns better. There are still some other patterns I have left to try! 6. After breaking lots of needles, I realized that I really didn't need to topstich the fitted masks over the bridge, so I just started skipping the bridge. 7. If you're going to wear a face-covering for a really long time, you might want to skip the ear hangers and go for ties behind the head. Instead of two ties, I'll use one long one so that the bottom one is a loop and the top one ties. Bungee cord works nice. Happy Sewing! : ) Rhoda Fry, Bill Fry Construction

Living space with curved clear cedar ceilings, built-in media and storage walls, custom artwork and custom furniture - Interior Architecture: HAUS | Architecture + LEVEL Interiors - Photography: Ryan Kurtz

Covid During Construction and Making Face Masks Dear Houzz Folks, We've started getting back to work and are educating everyone at our projects on how to be safe during COVID, posting signage, and we've been making masks for our employees, colleagues, friends, family etc... Here's some information on what I've learned so far in sewing the best fitting face mask for COVID. 1. Put in a wire at the nose bridge (about 3.5 inches) - it helps with fit and if you wear glasses, it keeps them from fogging up. I found that doorbell wire, available at the hardware store, seems to work well. It isn't too thin or too fat, bends easily and holds its shape. I attach it by using a zigzag stitch on the interior seam of the outside of the mask (so there's a bit more cushion on the inside). 2. For the shaped masks, I make a pocket in case my friends, family, colleagues, want to insert a filter - it also allows for three layers of fabric in the breathing area and less bulk where the ties go. For patterns that don't offer pockets, I just make my own pattern pocket. I also first baste the two inside pieces first and then sew the front on. This way, there's no worries about slipping. No pins are needed and no pins minimizes the number of extra air holes in the fabric. 3. So that the ties/loops can be replaced or modified, I make a channel for rather than sewing it in permanently. Many videos show using a safety pin to pull the elastic through. If you sew much, you might have a bodkin in your sewing box, but it might be a bit too wide. Instead, I use a long hairpin (you could probably make a long loop with a paper clip). I run the hairpin through the channel, loop the elastic through the end of the pin and pull through. That takes much less time than piercing it with a safety-pin. 4. For the inside of the masks, it is nice to have softer fabric inside, so high-thread-count sheets purchased on sale work great. Then you can easily tell what is inside as well. 5. For surgical-style masks, there's a pattern with a pocket on the inside and a wire. I like the ideas in this video but use 2 fabrics and make them bigger. About a 9x9 inch for the outside and 9x8 inch for the inside. 5/8 seam on the nose and 1/4 seam on the bottom. 6. For the fitted masks, there are two patterns that I like. For this one, https://moinliz.de/mundschutz-naehen-mit-schnittmuster it expects you to print on European-sized paper, so if you want to get the size right, print at 100% I also really like this pattern and I added a pocket and lengthened the ends to make channels https://intermountainhealthcare.org/covid19-coronavirus/homemade-cloth-face-coverings/ (scroll down to a link to download the pdf) Lots of folks sew craftpassion, but I like the fit of these patterns better. There are still some other patterns I have left to try! 6. After breaking lots of needles, I realized that I really didn't need to topstich the fitted masks over the bridge, so I just started skipping the bridge. 7. If you're going to wear a face-covering for a really long time, you might want to skip the ear hangers and go for ties behind the head. Instead of two ties, I'll use one long one so that the bottom one is a loop and the top one ties. Bungee cord works nice. Happy Sewing! : ) Rhoda Fry, Bill Fry Construction

Example of a trendy gray tile, multicolored tile and white tile mosaic tile floor and gray floor walk-in shower design in Austin with a hinged shower door

2 1/4 Red Oak Stained Light Grey Waterbase finish

Ann Kenkel Interiors Coastal Estate in St. Michael's Maryland on the Chesapeake Bay. House was designed after the original 1770's house on the property. Home was designed to be a formal house but was now being used as a weekend retreat. Ann Kenkel had to decorate the house in a manner which was coastal enough so owner's felt like they were on vacation yet formal enough for the style of the house. AK found the house filled with wallpaper from the 1980's. Wallpaper from every room was removed and all trim had to be painted a neutral color. The formal dining room only had one entry. AK opened up a second entry into the dining room which provided a view of the Chesapeake Bay. Keywords: coastal estate, bay estate, luxury estate on Chesapeake Bay, St. Michael's home, best designer in St. Michael's, best coastal designer, best Chesapeake bay designer, window treatments, window treatments for over transom windows, chenille sofas, silk pillows, TV over fireplace, blue and yellow bedroom, coral and beige bedroom, british plantation style, blue toile bedroom, blue and green bedroom, coral dining room, red dining room, hand planed table, neutral living room, neutral sunroom, blue and green kitchen, blue family room, cherry paneled library, Ralph Lauren leather chairs, yellow chinoiserie wallpaper, shell mirror, tole lamps, gated drive, pea gravel drive, circular drive, piano, zebra fabric, trim on pillows, trim on draperies, panels and valances, georgian house, sunburst mirror, glass coffee table, star lamps, red and yellow toile draperies, ivory painted chairs, white painted chairs, nautical accessories, coastal coral bedroom, coastal blue bedroom, coastal yellow bedroom, blue and green toile bedroom, stables, paddock, outdoor stainless kitchen, dock, tan draperies, neutral chenille sofas, blue sofas, blue chairs with white frame, needlepoint rug, shell plates, bamboo silverware, white bedroom furniture, dark wood bedroom furniture, plaid chairs, wilton carpet, bright sunroom, chairs and ottomans, regency valance, scarf swags, swags, red leopard pillows, toile bedding, game table, game table chairs on coaster, shells, hydrangeas, shell lamp, sailboat art, sailboat paintings, cane headboard, 4 poster bed.

Example of a mid-sized transitional dark wood floor and brown floor double front door design in Austin with gray walls and a black front door