You’ve come to expect the best in quality and style from Sierra Living Concepts; this rustic contemporary large live edge dining table certainly combines both in a big way. Organic modern rooms are about natural materials, unique textures, sleek clean lines, and in the dining room you can’t go wrong with this fabulous dining table. Inspired by the feisty industrial movement of the early 20th-century worktable our contemporary organic dining table provides a bold backdrop for entertaining. The iron base is all about modern/contemporary styling and supports a top made of solid exotic Indian Acacia wood, known for its unique grain and rich color. Like all natural rustic furniture each piece will have cracks that may widen over time, this is called checking and is highly prized in the world of rustic furniture and buildings. This is a natural occurrence and will not in any way affect the structural integrity of the piece. The wood for your piece has been expertly seasoned in a long slow process which helps control and maintain even moisture levels giving you a superior product. You may see Acacia wood used outdoors but this piece has been made for indoor use only. This table is very easy to care for, simply wipe the piece with a clean cloth after unpacking to help achieve its natural appearance. You may use an application of beeswax or brie wax when you wish to rejuvenate your piece. Dining table for 6 people. Special Features • Iron Base Support • 3’’ Solid Slab Acacia Wood (raw) • Acrylic Based Two Component Lacquer (Hardener + Base) • Easy Care • Dimensions: 82'' L x 38'' W x 30'' H • Reddish brown with honey tones Finish • Some simple assembly required • Environmentally friendly • Hand Finished • Will accommodate 6 people

The Magnolia Renovation has been primarily concerned with the design of a new, highly crafted modern kitchen in a traditional home located in the Magnolia neighborhood of Seattle. The kitchen design relies on the creation of a very simple continuous space that is occupied by highly crafted pieces of furniture, cabinets and fittings. Materials such as steel, bronze, bamboo, stained elm, woven cattail, and sea grass are used in juxtaposition, allowing each material to benefit from adjacent contrasts in texture and color. The existing kitchen and dining room consisted of separate rooms with a dividing wall. This wall was removed to create a long, continuous, east-west space, approximately 34 feet long, with cabinets and counters along each wall. The west end of the space has glass doors and views to the Puget Sound. The east end also has glass doors, leading to a small garden space. In the center of the new kitchen/dining space, we designed two long, custom tables from reclaimed elm planks (20" wide, 2" thick). The first table is a working kitchen island, the second table is the dining table. Both tables have custom blued-steel bases with laser-cut bronze overlay. We also designed custom stools with blued-steel bases and woven cattail rush seats. The lighting of the kitchen consists of 15 small, candle-like fixtures arranged in a random array with custom steel brackets. The cabinets are custom designed, with bleached Alaskan yellow cedar frames and bamboo panels. The counters are a dark limestone with a beautiful stone mosaic backsplash with a bamboo-like pattern. Adjacent to the backsplash is a long horizontal window with a “beargrass” resin panel placed on the interior side of the window. The “beargrass” panel contains actual sea grasses, which are backlit by the window behind the panel. Photo: Benjamin Benschneider

This beautifully custom made entry console does double duty as a place to show off part of the the homeowners book collections as well as an additional place to store seasonal items.

"The NEW YORK stool has a metal frame with sled base and upholstered and covered seat/backrest. The wraparound backrest and the wide seat, which make the chair always very comfortable, are both upholstered. The cover is available in GUMMY (an easy-to-clean synthetic material that is soft to the touch) or in ""Vera Pelle"" (genuine leather). In addition, the stool is equipped with four runners in neutral colour shockproof plastic, positioned beneath the sled base. Chrome-plated footrest. An ergonomic designer stool, NEW YORK is ideal for completing the furnishing of the dining room. Calligaris: Italian Smart Design since 1923 What does ""smart"" mean for us? Smart is harmony between technique and aesthetics, between reason and emotion, because each Calligaris piece encloses the know-how of our experienced designers and our creativity applied to contemporary living."

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NYC designer Megan Pflug and her husband J. Penry purchased a 1962 mid-century lodge in Greenville, New York and revived the tired property to become the Woodhouse Lodge. Threading through it all are natural materials reflective of the environment, starting with the soapstone countertops quarried in Virginia and then fabricated on site with nothing more than a steel straight edge, a measuring tape, a wet saw and a few other basic tools. "In decorating the space, we were really interested in working with a lot of local vendors and makers," Pflug said. "I thought it was really cool that we were able to source soapstone from the east coast. I also think that regional materials are often the most appropriate choice. If I was in Santa Fe, maybe soapstone wouldn't make the most sense architecturally." Like Pflug, Hudson Valley based fabricator Anson R. Tollefson, of A.R.T. Restoration and Remodeling, has a background in art. Working with just two slabs of Alberene Soapstone, Tollefson, crafted the countertops, backsplash, shelving and supports. A job he describes as, “Like a very heavy puzzle.” Photo: Genevieve Garruppo

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Envisioned as a country retreat for New York based clients, this collection of buildings was designed by MossCreek to meet the clients' wishes of using historical and antique structures. Serving as a country getaway, as well as a unique home for their art treasures, this was both an enjoyable and satisfying project for MossCreek and our clients.

Ask a kitchen designer in Chicago which countertop question comes up most and you will hear the same answer: white or off-white quartz, and which shade. Homeowners walk into showrooms with a photo saved on their phone, usually a bright, veined slab from a magazine spread, and leave an hour later realizing there are a dozen versions of that same look. The confusion is not about taste. It is about the fact that "white quartz" covers a huge range of patterns, undertones, and price points, and nobody explains the differences before the sale. Older bungalows and newer builds alike are getting stripped of their dated laminate and butcher block in favor of quartz, and the reasons are practical rather than trendy. Quartz does not need sealing, resists the kind of staining that granite can suffer over decades, and holds up to the freeze-thaw humidity swings that Chicago basements and kitchens go through every year. Once a homeowner commits to quartz, though, the real decision starts: which white, and does the pattern justify the difference in cost. This piece walks through three specific slabs that keep showing up in Chicago renovation projects, why designers reach for them in different rooms, and what actually separates a flat white surface from one with real depth. None of this requires a design background to follow. It is mostly about paying attention to how a slab behaves under kitchen lighting, how busy the vending gets, and how it photographs versus how it looks in person. Why White Quartz Took Over Chicago Kitchens Ten years ago, granite dominated Chicago kitchen remodels almost by default. It was durable, it looked expensive, and every fabricator in the metro area carried a wide range of colors. Quartz has since taken over that position, and the shift happened faster than most contractors expected. Engineered stone gave homeowners a more predictable surface, since natural granite varies slab to slab while quartz is manufactured to a consistent pattern batch after batch. The other driver is light. Chicago winters are long and gray, and a lot of kitchens, especially in older two-flats and courtyard buildings, do not get much direct sun. A dark granite countertop in a dim kitchen can make the whole room feel smaller. White and light-toned quartz reflects what little natural light comes through the windows, and it makes a galley kitchen or a north-facing space feel noticeably brighter without touching the cabinetry or the layout. There is also a resale argument that local real estate agents bring up constantly. White quartz photographs well for listings, reads as updated and low-maintenance to buyers touring in person, and does not compete visually with whatever cabinet color the next owner might prefer. It is a safer bet than a bold veined marble look or a colored quartz that might feel dated in five years. Arctic White and the Cost Question Among the flatter, more uniform whites, arctic white quartz price comes up constantly in budget conversations because the slab sits at a more approachable point than the heavily veined Italian-marble-inspired patterns. It reads as clean and bright without the busy movement that some homeowners find overwhelming in a small kitchen. Fabricators in the Chicago area tend to keep it in stock precisely because demand stays steady across both new construction and remodel projects. Part of what keeps this slab affordable relative to its heavily patterned cousins comes down to manufacturing complexity. A quartz surface with minimal veining and a consistent white base is simpler to produce at scale than one that mimics the irregular, high-contrast movement of natural Calacatta marble. That production difference shows up directly in what a homeowner pays per square foot, and it is worth asking a fabricator to walk through that pricing before assuming every white quartz costs the same. Homeowners planning a full kitchen, including an island, backsplash, and perimeter counters, often use a flatter white like this specifically because it lets other elements carry the visual interest. A patterned tile backsplash or a bold cabinet color reads more clearly against a calm countertop than against one already fighting for attention with heavy veining. Designers frequently pair simpler whites with statement lighting fixtures for exactly this reason. What Makes Calacatta Patterns Different Calacatta refers to a family of marble originally quarried in Italy, known for a bright white background broken up by bold, often gold-toned veining that moves in thick, dramatic streaks rather than thin gray lines. Natural Calacatta marble is soft, porous, and expensive to maintain, which is exactly why quartz manufacturers spent years developing engineered versions that replicate the look without the upkeep headaches. The challenge with any Calacatta-style quartz is getting the veining to look organic instead of printed. Early generations of engineered stone struggled with repetitive patterns that gave away the fact the slab was manufactured rather than cut from actual marble. Modern digital printing and layering techniques have closed that gap considerably, and the better Calacatta-inspired quartz lines now vary the veining across each slab batch so two counters in the same kitchen do not look identical. Chicago designers gravitate toward Calacatta patterns for kitchens that function as the visual centerpiece of an open floor plan, which describes a large share of the gut renovations happening in neighborhoods like Lincoln Park, Roscoe Village, and the North Shore suburbs. When the kitchen island is visible from the living room and dining area, a dramatic veined surface becomes part of the home's overall design language rather than a purely functional work surface. Calacatta Arno Under Kitchen Lighting One of the more popular options in this category, calacatta arno quartz, balances a warm white base with soft gray and gold veining that avoids looking too stark under the cooler LED lighting common in newer Chicago builds. Homeowners touring showrooms sometimes make the mistake of judging a slab entirely under warm incandescent lighting, then get surprised when the same surface looks slightly different once installed under their kitchen's actual fixtures. What separates this particular pattern from flatter competitors is how the veining clusters rather than spreading evenly across the slab. That clustering mimics the way real quarried marble forms, with denser mineral deposits in some sections and cleaner stretches in others. Fabricators cutting a large island slab from a single piece will often orient the pattern intentionally so the busiest veining lands somewhere visually interesting rather than getting cut off at an edge. Because the background reads warmer than a stark white, this pattern tends to pair well with brass or matte gold hardware, a combination that has been showing up repeatedly in Chicago kitchen remodels over the past few renovation seasons. Cabinet painters report a similar trend, with more clients requesting warm white or greige cabinet colors specifically because they complement this kind of veined quartz better than a cooler, blue-toned white would. Silestone's Version of the Calacatta Look Manufacturers compete directly in this Calacatta-inspired category, and silestone eternal calacatta gold represents one brand's specific take on the pattern, distinguished by richer gold veining set against a brighter white base than some competing slabs in the same family. Silestone has built a reputation around anti-bacterial surface treatments in addition to the standard quartz durability, a detail some homeowners specifically ask about for kitchens used heavily by families with young children. The veining in this particular slab tends to run in longer, more continuous lines compared to the clustered pattern found in some other Calacatta-style options, which gives large island surfaces a sense of visual flow from one end to the other. Fabricators working with bigger islands, the kind increasingly common in open-concept Chicago remodels, often favor patterns like this because there is less need to worry about seams interrupting a busy, disconnected pattern. Price positioning for this slab tends to sit toward the upper end of the engineered quartz category, reflecting both the brand's manufacturing process and the complexity of replicating that continuous gold veining consistently across production batches. Homeowners weighing this option against other Calacatta-style quartz should ask their fabricator directly about batch availability, since premium patterns sometimes have longer lead times than standard stock colors. Living With Quartz Day to Day Beyond how a slab looks in a showroom or a listing photo, the daily experience of owning quartz countertops matters more once the renovation dust settles. Quartz resists scratching far better than laminate and holds up to the acidic spills, hot pans, and general abuse of an active kitchen without the sealing maintenance that natural stone requires every year or two. That low-maintenance reputation is a large part of why quartz overtook granite in the first place. Heat resistance is a detail that gets less attention than it should. While quartz handles moderate heat well, manufacturers generally recommend using a trivet or pad for very hot pots straight off the stove, since sudden temperature shock can occasionally cause stress marks in the resin binder that holds the engineered stone together. This is a minor precaution rather than a major limitation, but it is worth mentioning to anyone assuming quartz is entirely indestructible. Cleaning routines stay simple across almost every pattern in this category. A damp cloth and mild soap handle daily messes, and the nonporous surface means wine, coffee, and tomato-based sauces do not soak in the way they can with unsealed granite or marble. Homeowners moving from an older stone counter often mention how much less they worry about everyday spills once quartz is installed, which is a quality-of-life change that rarely makes it into the initial design conversation. Choosing Between the Three There is no single correct answer among these three slabs, and that is exactly why they keep coming up together in the same design conversations across Chicago renovation projects. A flatter white with minimal veining suits kitchens where other elements need to carry the visual interest, while a bolder Calacatta-inspired pattern makes sense when the countertop itself is meant to be the centerpiece of an open floor plan. Budget matters too, and it is worth having a direct conversation with a fabricator about where each option lands before falling in love with a specific slab in a showroom. Lighting, cabinet color, and how the kitchen connects to the rest of the home all play into which pattern will actually look right once installation is finished rather than just in a photo. Whatever direction a homeowner leans, seeing a full slab in person under actual kitchen lighting remains the single most useful step before signing off. Photos only go so far once the countertop is sitting in the room it will live in for years.

When Maria Bilotta Distefano and her husband, George Distefano—each owners of their own home design/renovation businesses—purchased their home in North Salem, they knew they would have to make some pretty radical changes, starting with the kitchen. “It was horrific,” Bilotta says. “A bathroom opened up right into the eating area. The space was small, the cooking area crammed. Cabinets were an inexpensive stock—pickled oak—and were falling apart. And the appliances were completely out of date. It was a kitchen-company owner’s worst nightmare.” She should know. Along with siblings Regina Bilotta and Jim Bilotta, Maria owns and runs Bilotta Kitchens, a full-service kitchen and bath company that specializes in cabinetry design. Maria Bilotta's 400-square-foot kitchen boasts a large hearth area with a stainless-steel dual-fuel range surrounded by crackled rectangular tiles, sconces, and an antique glass mirror. Over the range is a handy pot filler, an item frequently recommended by Bilotta for its ease of use. On the far wall next to the hearth stands a 48-inch side-by-side Sub-Zero refrigerator paneled in the same cherry as the cabinets. The generous island is equipped with an undermount Franke stainless-steel sink with a bronze oil-rubbed faucet by Rohl, a built-in ASKO dishwasher, and a double trash pull-out. The dining table’s unique copper top, along with the copper trim on the ledge leading into the family room and along the edge of the pizza oven, are all custom made and finished by George Distefano at his custom-metal shop, Ornametal, based in Newburgh, New York. Bilotta wanted a kitchen that would not only accommodate her family’s lifestyle but embrace the best of the products and designs out there. To achieve this, she asked Mel Elion, a top designer in Bilotta’s Mamaroneck showroom, to work with architect Terry Lennon of Somers and general contractor Fred Boehmer of Boehmer Homes of La Grangeville, New York, to bring her dream kitchen to life. Bilotta looked to her past to hone her vision, recalling boisterous family gatherings where everyone pitched in to make the meal. Thus, Elion included in her design a large banquette area for casual sit-down meals and a wide multi-purpose island with three stools, designed for both food preparation and light dining. In terms of style, Bilotta favors a rustic aesthetic, complete with state-of-the-art appliances and top-of-the-line amenities. And number-one on her wish list: a pizza oven. The Old World “appliance” brings back special memories of pizza-making with her siblings, cousins, and grandfather, an Italian immigrant who brought a love of cooking with him from Arpino. To accommodate Bilotta’s request for a sophisticated country look, Elion recommended cherry cabinets from Bilotta Kitchens’ private cabinet collection, with perimeter cabinets sporting custom inset doors of rustic cherry wood and an island of antique cherry. Green Verde Vecchio granite countertops and a soft moss shade for the walls complement the warm wood. Sixteen-by-sixteen-inch honed limestone tiles used for the floors have decorative metal inserts that match the copper tabletop in the banquette area (hand-made and finished by George Distefano) and other copper accents, such as the pizza oven’s ledge. A magnificent ivory-colored cherry hearth was designed to surround the 48-inch professional Wolf range. Behind the range, framed by the crackled tile backsplash from Waterworks, hangs an antique glass mirror with metal trim from Distefano’s shop, GlasSolutions, a New York-based architectural glass and metal company. Besides providing an interesting focal point, installing a mirror behind the range has a practical purpose, allowing the chef to keep an eye on the often boisterous and energetic activities while cooking.

Gross & Daley
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This 1920's classic Belle Meade Home was beautifully renovated. Architectural design by Ridley Wills of Wills Company and Interiors by New York based Brockschmidt & Coleman LLC. Wiff Harmer Photography

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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.

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