THEME This playroom takes advantage of a high ceiling, wide floor space and multiple windows to create an open, bright space where a child can be a pirate boarding a captured ship, a chef in a cafe, a superhero flying down the slide, or just a kid swinging on a tire. FOCUS The tower and slide promise fun for all — even from the doorway. The multi-level structure doubles the play area; leaving plenty of room for a workbench, LEGO table, and other mobile toys. Below the tower, there is a chalkboard wall and desk for the young artist, as well as a toy microwave and food items for the budding chef. Brilliant primary colors on the walls and a sky blue ceiling with clouds create an entirely pleasant environment. STORAGE To accommodate a multitude of toys of varying sizes and shapes, the room is equipped with easily accessible, mobile and stationary storage units. Colorcoordinated baskets, buckets, crates and canvas bags make cleaning up a bit easier and keep the room organized. Mindful that the number and types of toys change as children age, the shelving unit features floating boards and adjustable pegs. GROWTH Designed as a family playroom with growth in mind, the room suits the needs of children of various ages. Different elements can be added or retired, and older children can keep more mature toys and games on higher shelves, safely out of a younger sibling’s reach. Lower shelving is reserved for the youngest child’s toys, books, and other treasures. SAFETY To minimize the bumps and bruises common in playrooms, exposed screws and bolts are covered by plastic molds or rope twisted around metal joiners. Elastic netting protects openings on the tower’s upper levels, while playroom activities can be monitored via any television in the house. Smaller kids are kept off the upper levels with the use of climbing net and rock wall anchors.

Tessa Neustadt
Inspiration for a mid-sized farmhouse dark wood floor laundry room remodel in Los Angeles with shaker cabinets, gray cabinets, wood countertops, white walls, a stacked washer/dryer and beige countertops

Picture by Christina Hunt
Example of a trendy rooftop rooftop deck container garden design in Boston with no cover

Inspiration for a large rustic brown two-story mixed siding gable roof remodel in Other

This proposal is for a new two-story home on the vacant heavily wooded lot with an existing 150-foot-long driveway lined by several beautiful oak trees culminating in a behemoth 43-inch oak tree where the driveway meets the main lot. The far end of the driveway terminates in a grove of three 43/40/43-inch redwoods and at the very center of the vacant lot stands a gargantuan V-twin 59-inch redwood tree paired with a “small” 29-inch redwood tree. The owners want to build a beautiful contemporary-styled home for their family that fully enjoys and embraces the mature trees on their cozy 65-foot by 100-foot lot. As with all small, constrained lots, this project’s site design started first with meeting the relatively large parking and car maneuvering requirements. Menlo Park’s Department of Transportation typically requires side-facing garages to have 24-feet of backup space. So that they could give the largest feature redwood tree on site an added four feet (50%) of clearance outside of its critical root zone, the owners agreed to install a vehicle turntable at the end of their driveway to eliminate the extra four feet of space needed to back up and turnaround. This allowed them to pull their garage forward an additional four feet towards the front property line on the panhandle side, drastically reducing the rest of the home’s impact on the gargantuan V-Twin paired redwood tree at the center of the lot. One of the owners has mobility issues, and accordingly, they first sought to design a one-story floor plan that incorporated all their family’s needs including plenty of covered patio and deck space to enjoy our fantastic California weather. But that single-story footprint spread too far into the critical root zones of several of the redwood trees on site, even despite the use of the vehicle turntable. During my interview process with the owners, they made it clear to me that one of their primary concerns is ensuring that the largest trees on site would thrive and become features of their new home after construction is complete. The single-story designs that removed the grove of three huge redwood trees were non-starters, as was the skimpy 5x10 master bath I designed when trying to squeeze the whole house program into an overly compromised single-story design. It was therefore deemed necessary to go with a two-story design despite the owner’s mobility issues. This two-story design has a much more compact ground floor footprint and has no bedrooms downstairs, other than the detached ADU. The owners must give up the floor area and incur the costs to install a residential elevator to access their upstairs master suite. Our ground floor footprint is smaller due to the two-story design decision, and our foundation is pulled away from the trees thanks to the vehicle turntable. Yet, a tiny portion of the home’s ground floor footprint still encroaches into the critical root zones of the largest 59” redwood tree. Therefore, as outlined in the Arborist Report prepared by Aesculus Arboricultural Consulting, the structural engineers are incorporating an array of drilled piers and shallow-grade beams for the main home’s foundation and deck area nearest the redwood’s critical root zone. This drilled piers and grade beam foundation is a type of “bridging” foundation as outlined in Aesculus’ report to preserve the health of these trees that the property was designed around. The rest of the foundation will be constructed as an insulated slab-on-grade foundation to minimize the number of steps and ramps needed for the owners to enjoy their home and patio areas. Despite the owner’s desire to keep as many trees as possible on site, and despite the smaller ground floor footprint and the advantage of the vehicle turntable, the need for a 20x20-foot garage and 20x20/25-foot guest parking space on our panhandle lot requires the removal of two heritage trees in the required driveway, a 16” coast redwood, and a 17” coast redwood. An alternate design, such as swapping the garage and guest parking locations north-to-south, still requires the removal of these two trees for vehicle maneuvering but has the added disadvantage of cutting off the home’s sightlines to the behemoth 43” oak tree just outside the currently proposed front patio space and living room. Jim Redman of Elements Landscape is proposing 13 new trees be planted on site to replace the lost value of these two heritage coast redwood trees. This contemporary architectural design features clean lines, and an abundance of full-height windows and large skylights to best take in the immense trees on site. To blend in with the forest-like setting, the home boasts a mix of rich textures and features a color palette of natural wood tones contrasted with dark blue and black. Once through the new steel gate at the street and down the 150-foot tree-lined driveway, a large covered front patio becomes visible past the neighbor’s detached accessory structure. The covered patio is just across the driveway from the beautiful 43” behemoth coast live oak. The single plane of the covered patio roof is delicately supported by a pair of steel posts in a “V-twin” configuration much like the largest redwood trees that tower over the center of the lot and will still be visible above the new two-story home, even from the front yard. The patio is covered in a dark-colored standing seam roof, with steel C-channel fascias, and tongue-and-groove wood ceiling planks on the underside. Generously sized skylights on the patio roof and inside the living area allow for impressive views of the amazing oak canopy as well as precious natural light. Supporting the sloped covered patio on the other side is the two-car garage with a secondary bedroom suite stacked above the garage. This two-story volume is to be clad in vertical clear-coated redwood siding, to tie in with the grove of three 43-inch redwood trees just beyond. The garage door, and the bank of windows for Bedroom#2 above feature a steel fascia eyebrow header feature to provide shade and overhang protection, as we are not proposing a large overhang at this “redwood trunk”. The garage and bedroom volume are pulled 16 feet away from the side property line, instead of the minimum required setback of 6’-6”, thus leaving plenty of room for the redwood grove and existing mature pear tree to continue to thrive. This existing mature green screen in this 16-foot-wide side yard is a feature worth soaking in, which is why tall windows with low sill heights are proposed for both the stairs and the upstairs hallway. Though it may be infrequent to approve side-facing 2nd floor windows with sill heights as low as what we’re proposing, we are confident that the mature green screen and the over 16-foot-wide side yard are sufficient to provide for the continued privacy of our neighbor’s rear yard space, especially considering theses windows are in walkway zones. The covered patio at the front entry is also bound by the 10-foot-tall living room. The great room is clad in a dark blue brick veneer, which wraps around all three sides of the living room. Upon entering the home from the covered patio, you are immediately greeted with one of the most impressive features of the home’s design: a 10-foot-tall by 24-foot-wide set of sliding glass doors. From the entry, this huge opening gives merely an initial glimpse of the massive trunks of the gargantuan V-twin redwoods sitting at the center of the lot. All three sliding glass panels open directly out into the smaller partially covered deck in the rear. This roof overhang element matches the design of the front patio with a steel C-channel fascia and a large skylight. But the rear deck’s roof element is set flat at a ten-foot ceiling height so that the living room’s ceiling seems to float above and out beyond the expanse of full-height sliding doors, thus creating an indoor-outdoor living space that will feel much larger than the home’s actual footprint. This rear covered deck is smaller than the patio in the front and also has a mix of solid and open-slatted roofing to allow for more solar access for the relatively small amount of open sky available. The downstairs living room is open to the dining and kitchen areas, as well as the stair-and-elevator tower beyond. The stair tower is very open and glassy, and the stairs wind up and around the redwood-clad elevator tower. From certain perspectives in the 16-foot-wide side yard, it will almost seem as if the grove of three redwoods has a fourth tree that the house and the stairs were carefully built around. Other than the 3-foot-wide windows, the exterior walls of the stair tower, downstairs utility spaces, and Bedroom#3 above are finished in cement plaster, painted dark blue and black. The sloped roof over the stair-and-elevator tower continues cleanly over the area of upstairs Bedroom#3. This roof level is set by the side daylight plane and only yields an inside wall height of just under 6 feet in height. The owners are satisfied that the rest of this upstairs room has a nice vaulted ceiling to make up for the one short wall under the daylight plane. The rest of the ground floor adjacent to the stair tower consists of a small utility wing containing a half-bath, laundry, storage area, and an exterior alcove for the electric heat pump HVAC unit. This short wing also gives more accessible access to the rear yard deck, as well as a backdrop for an outdoor kitchen. The bright white stone backsplash for the outdoor kitchen provides contrast to the otherwise consistent use of cement plaster painted dark blue and black for the two-story wing closest to the detached ADU. Though Bedroom#3 is stacked directly above this small wing, it is relatively short to comply with the side daylight plane of this narrow lot. Still, to further help break up the scale of this wall, another steel fascia eyebrow element is set about 8 feet above the rear deck. The master suite sits centered above the ten-foot-tall great room. The master bedroom and its balcony, as well as the master bathtub area, have a commanding view of the central redwood trees and their impressive canopy, though the balcony is mostly recessed and should pose no privacy concerns to the neighbor’s rear yards. The master balcony parapet is clad in the same brick veneer continuing up from the living room below. A dark-painted metal rail makes up the rest of the open guardrail height. The entire length of the master balcony is comprised of 9-foot-tall sliding glass doors, but the area above the doors, as well as the area below the master bathroom windows, is accented with more redwood siding. The remainder of the master suite bathroom and walk-in closet is finished in cement plaster painted dark blue. The master bathroom has one side yard-facing window but will be frosted glass for both the owner’s and the neighbor’s privacy. The 2nd floor is capped under a simple gable roof design with one roof ridge and varying eave and rake overhangs depending on the 2nd-floor layout and solar orientation. Since these roof planes are quite difficult to see in the middle of the heavily wooded panhandle lot, we are proposing a white TPO roofing for these two upper roof planes as a more sustainable choice compared to more dark-colored roofing like the covered patios and detached ADU. The owners also wish to build a detached 292-square-foot Accessory Dwelling Unit (ADU) as an office and guest suite. For the ADU foundation to be situated outside the central redwood tree’s critical root zone, this relatively tiny structure takes advantage of the narrower 4-foot side and rear setbacks allowed for ADUs smaller than 800 square feet. The small L-shaped detached ADU frames a wonderful quasi-courtyard around the gargantuan V-twin redwoods at the center of the lot. The ADU shares a matching material palette consisting of cement plaster painted blue and black, vertical redwood siding and soffits, and thin brick veneer. The ADU also features large full-height windows. The only difference between the main home and the ADU material palette is that the roofing will be a dark composition shingle roofing since it will be quite visible from the master balcony.

Final shot of the project. Photo by Phil Krugler
Example of a farmhouse mudroom design in Philadelphia with brown walls

The Back Bay House is comprised of two main structures, a nocturnal wing and a daytime wing, joined by a glass gallery space. The daytime wing maintains an informal living arrangement that includes the dining space placed in an intimate alcove, a large country kitchen and relaxing seating area which opens to a classic covered porch and on to the water’s edge. The nocturnal wing houses three bedrooms. The master at the water side enjoys views and sounds of the wildlife and the shore while the two subordinate bedrooms soak in views of the garden and neighboring meadow. To bookend the scale and mass of the house, a whimsical tower was included to the nocturnal wing. The tower accommodates flex space for a bunk room, office or studio space. Materials and detailing of this house are based on a classic cottage vernacular language found in these sorts of buildings constructed in pre-war north america and harken back to a simpler time and scale. Eastern white cedar shingles, white painted trim and moulding collectively add a layer of texture and richness not found in today’s lexicon of detail. The house is 1,628 sf plus a 228 sf tower and a detached, two car garage which employs massing, detail and scale to allow the main house to read as dominant but not overbearing. Designed by BC&J Architecture.

Powder Room Photo by Rob Karosis
Inspiration for a timeless gray floor and slate floor powder room remodel in New York with furniture-like cabinets, a two-piece toilet, multicolored walls, an undermount sink, medium tone wood cabinets, marble countertops and white countertops

Organized Living freedomRail adjustable shelving is ideal for small spaces because it allows you to adjust shelves according to what is being stored. Design a linen closet at http://organizedliving.com/home/Design-Now/select-your-own-tool/space?store=109 This Organized Living freedomRail design courtesy: The Amandas.

The landscape of this home honors the formality of Spanish Colonial / Santa Barbara Style early homes in the Arcadia neighborhood of Phoenix. By re-grading the lot and allowing for terraced opportunities, we featured a variety of hardscape stone, brick, and decorative tiles that reinforce the eclectic Spanish Colonial feel. Cantera and La Negra volcanic stone, brick, natural field stone, and handcrafted Spanish decorative tiles are used to establish interest throughout the property. A front courtyard patio includes a hand painted tile fountain and sitting area near the outdoor fire place. This patio features formal Boxwood hedges, Hibiscus, and a rose garden set in pea gravel. The living room of the home opens to an outdoor living area which is raised three feet above the pool. This allowed for opportunity to feature handcrafted Spanish tiles and raised planters. The side courtyard, with stepping stones and Dichondra grass, surrounds a focal Crape Myrtle tree. One focal point of the back patio is a 24-foot hand-hammered wrought iron trellis, anchored with a stone wall water feature. We added a pizza oven and barbecue, bistro lights, and hanging flower baskets to complete the intimate outdoor dining space. Project Details: Landscape Architect: Greey|Pickett Architect: Higgins Architects Landscape Contractor: Premier Environments Metal Arbor: Porter Barn Wood Photography: Scott Sandler

This stunning Gainesville bathroom design is a spa style retreat with a large vanity, freestanding tub, and spacious open shower. The Shiloh Cabinetry vanity with a Windsor door style in a Stonehenge finish on Alder gives the space a warm, luxurious feel, accessorized with Top Knobs honey bronze finish hardware. The large L-shaped vanity space has ample storage including tower cabinets with a make up vanity in the center. Large beveled framed mirrors to match the vanity fit neatly between each tower cabinet and Savoy House light fixtures are a practical addition that also enhances the style of the space. An engineered quartz countertop, plus Kohler Archer sinks and Kohler Purist faucets complete the vanity area. A gorgeous Strom freestanding tub add an architectural appeal to the room, paired with a Kohler bath faucet, and set against the backdrop of a Stone Impressions Lotus Shadow Thassos Marble tiled accent wall with a chandelier overhead. Adjacent to the tub is the spacious open shower style featuring Soci 3x12 textured white tile, gold finish Kohler showerheads, and recessed storage niches. A large, arched window offers natural light to the space, and towel hooks plus a radiator towel warmer sit just outside the shower. Happy Floors Northwind white 6 x 36 wood look porcelain floor tile in a herringbone pattern complete the look of this space.

The Back Bay House is comprised of two main structures, a nocturnal wing and a daytime wing, joined by a glass gallery space. The daytime wing maintains an informal living arrangement that includes the dining space placed in an intimate alcove, a large country kitchen and relaxing seating area which opens to a classic covered porch and on to the water’s edge. The nocturnal wing houses three bedrooms. The master at the water side enjoys views and sounds of the wildlife and the shore while the two subordinate bedrooms soak in views of the garden and neighboring meadow. To bookend the scale and mass of the house, a whimsical tower was included to the nocturnal wing. The tower accommodates flex space for a bunk room, office or studio space. Materials and detailing of this house are based on a classic cottage vernacular language found in these sorts of buildings constructed in pre-war north america and harken back to a simpler time and scale. Eastern white cedar shingles, white painted trim and moulding collectively add a layer of texture and richness not found in today’s lexicon of detail. The house is 1,628 sf plus a 228 sf tower and a detached, two car garage which employs massing, detail and scale to allow the main house to read as dominant but not overbearing. Designed by BC&J Architecture.

Our clients in Tower Lakes, IL, needed more storage and functionality from their kitchen. They were primarily focused on finding the right combination of cabinets, shelves, and drawers that fit all their cookware, flatware, and appliances. They wanted a brighter, bigger space with a natural cooking flow and plenty of storage. Soffits and crown molding needed to be removed to make the kitchen feel larger. Redesign elements included: relocating the fridge, adding a baking station and coffee bar, and placing the microwave in the kitchen island. Advance Design Studio’s Claudia Pop offered functional, creative, and unique solutions to the homeowners’ problems. Our clients wanted a unique kitchen that was not completely white, a balance of design and function. Claudia offered functional, creative, and unique solutions to Chad and Karen’s kitchen design challenges. The first thing to go was soffits. Today, most kitchens can benefit from the added height and space; removing soffits is nearly always step one. Steely gray-blue was the color of choice for a freshly unique look bringing a sophisticated-looking space to wrap around the fresh new kitchen. Cherry cabinetry in a true brown stain compliments the stormy accents with sharp contrasting white Cambria quartz top balancing out the space with a dramatic flair. “We wanted something unique and special in this space, something none of the neighbors would have,” said Claudia. The dramatic veined Cambria countertops continue upward into a backsplash behind three complimentary open shelves. These countertops provide visual texture and movement in the kitchen. The kitchen includes two larder cabinets for both the coffee bar and baking station. The kitchen is now functional and unique in design. “When we design a new kitchen space, as designers, we are always looking for ways to balance interesting design elements with practical functionality,” Claudia said. “This kitchen’s new design is not only way more functional but is stunning in a way a piece of art can catch one’s attention.” Decorative mullions with mirrored inserts sit atop dual sentinel pantries flanking the new refrigerator, while a 48″ dual fuel Wolf range replaced the island cooktop and double oven. The new microwave is cleverly hidden within the island, eliminating the cluttered counter and attention-grabbing wall of stainless steel from the previous space. The family room was completely renovated, including a beautifully functional entertainment bar with the same combination of woods and stone as the kitchen and coffee bar. Mesh inserts instead of plain glass add visual texture while revealing pristine glassware. Handcrafted built-ins surround the fireplace. The beautiful and efficient design created by designer Claudia transitioned directly to the installation team seamlessly, much like the basement project experience Chad and Karen enjoyed previously. “We definitely will and have recommended Advance Design Studio to friends who are looking to embark on a project small or large,” Karen said. “Everything that was designed and built exactly how we envisioned it, and we are really enjoying it to its full potential,” Karen said. Our award-winning design team would love to create a beautiful, functional, and spacious place for you and your family. With our “Common Sense Remodeling” approach, the process of renovating your home has never been easier. Contact us today at 847-665-1711 or schedule an appointment.

This stunning Gainesville bathroom design is a spa style retreat with a large vanity, freestanding tub, and spacious open shower. The Shiloh Cabinetry vanity with a Windsor door style in a Stonehenge finish on Alder gives the space a warm, luxurious feel, accessorized with Top Knobs honey bronze finish hardware. The large L-shaped vanity space has ample storage including tower cabinets with a make up vanity in the center. Large beveled framed mirrors to match the vanity fit neatly between each tower cabinet and Savoy House light fixtures are a practical addition that also enhances the style of the space. An engineered quartz countertop, plus Kohler Archer sinks and Kohler Purist faucets complete the vanity area. A gorgeous Strom freestanding tub add an architectural appeal to the room, paired with a Kohler bath faucet, and set against the backdrop of a Stone Impressions Lotus Shadow Thassos Marble tiled accent wall with a chandelier overhead. Adjacent to the tub is the spacious open shower style featuring Soci 3x12 textured white tile, gold finish Kohler showerheads, and recessed storage niches. A large, arched window offers natural light to the space, and towel hooks plus a radiator towel warmer sit just outside the shower. Happy Floors Northwind white 6 x 36 wood look porcelain floor tile in a herringbone pattern complete the look of this space.

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.

Intentional. Elevated. Artisanal. With three children under the age of 5, our clients were starting to feel the confines of their Pacific Heights home when the expansive 1902 Italianate across the street went on the market. After learning the home had been recently remodeled, they jumped at the chance to purchase a move-in ready property. We worked with them to infuse the already refined, elegant living areas with subtle edginess and handcrafted details, and also helped them reimagine unused space to delight their little ones. Elevated furnishings on the main floor complement the home’s existing high ceilings, modern brass bannisters and extensive walnut cabinetry. In the living room, sumptuous emerald upholstery on a velvet side chair balances the deep wood tones of the existing baby grand. Minimally and intentionally accessorized, the room feels formal but still retains a sharp edge—on the walls moody portraiture gets irreverent with a bold paint stroke, and on the the etagere, jagged crystals and metallic sculpture feel rugged and unapologetic. Throughout the main floor handcrafted, textured notes are everywhere—a nubby jute rug underlies inviting sofas in the family room and a half-moon mirror in the living room mixes geometric lines with flax-colored fringe. On the home’s lower level, we repurposed an unused wine cellar into a well-stocked craft room, with a custom chalkboard, art-display area and thoughtful storage. In the adjoining space, we installed a custom climbing wall and filled the balance of the room with low sofas, plush area rugs, poufs and storage baskets, creating the perfect space for active play or a quiet reading session. The bold colors and playful attitudes apparent in these spaces are echoed upstairs in each of the children’s imaginative bedrooms. Architect + Developer: McMahon Architects + Studio, Photographer: Suzanna Scott Photography

Intentional. Elevated. Artisanal. With three children under the age of 5, our clients were starting to feel the confines of their Pacific Heights home when the expansive 1902 Italianate across the street went on the market. After learning the home had been recently remodeled, they jumped at the chance to purchase a move-in ready property. We worked with them to infuse the already refined, elegant living areas with subtle edginess and handcrafted details, and also helped them reimagine unused space to delight their little ones. Elevated furnishings on the main floor complement the home’s existing high ceilings, modern brass bannisters and extensive walnut cabinetry. In the living room, sumptuous emerald upholstery on a velvet side chair balances the deep wood tones of the existing baby grand. Minimally and intentionally accessorized, the room feels formal but still retains a sharp edge—on the walls moody portraiture gets irreverent with a bold paint stroke, and on the the etagere, jagged crystals and metallic sculpture feel rugged and unapologetic. Throughout the main floor handcrafted, textured notes are everywhere—a nubby jute rug underlies inviting sofas in the family room and a half-moon mirror in the living room mixes geometric lines with flax-colored fringe. On the home’s lower level, we repurposed an unused wine cellar into a well-stocked craft room, with a custom chalkboard, art-display area and thoughtful storage. In the adjoining space, we installed a custom climbing wall and filled the balance of the room with low sofas, plush area rugs, poufs and storage baskets, creating the perfect space for active play or a quiet reading session. The bold colors and playful attitudes apparent in these spaces are echoed upstairs in each of the children’s imaginative bedrooms. Architect + Developer: McMahon Architects + Studio, Photographer: Suzanna Scott Photography

This Kiawah marsh front home in the “Settlement” was sculpted into its unique setting among live oaks that populate the long, narrow piece of land. The unique composition afforded a 35-foot wood and glass bridge joining the master suite with the main house, granting the owners a private escape within their own home. A helical stair tower provides an enchanting secondary entrance whose foyer is illuminated by sunshine spilling from three floors above. Photography: Kelly Elliott

This home is a modern farmhouse on the outside with an open-concept floor plan and nautical/midcentury influence on the inside! From top to bottom, this home was completely customized for the family of four with five bedrooms and 3-1/2 bathrooms spread over three levels of 3,998 sq. ft. This home is functional and utilizes the space wisely without feeling cramped. Some of the details that should be highlighted in this home include the 5” quartersawn oak floors, detailed millwork including ceiling beams, abundant natural lighting, and a cohesive color palate. Space Plans, Building Design, Interior & Exterior Finishes by Anchor Builders Andrea Rugg Photography