The Elmhurst lattice.
A multi-flight stair under a deep coffered ceiling with a custom X-cross beam pattern — rectangular iron balusters, raw oak treads, a linear crystal pendant overhead.
The stair is good. The ceiling above it is the trick. A deep, inset coffered ceiling with a white X-cross beam pattern hovers over the entire stairwell, framing a linear six-cylinder crystal pendant that drops past every flight. The stair becomes the floor of a room, and the room is overhead.
We built a stair that holds its own under a ceiling that ambitious. Raw white oak treads — no stain, just a clear finish — sit on painted white stringers. The balusters are custom blackened iron, rectangle within rectangle, a quiet Mondrian rhythm that runs the length of every flight. The newels are chunky turned posts in matching oak, anchoring each corner without competing with the iron.
The stair runs from the basement through the main floor to the upper hall — a continuous multi-flight that ties three levels together. Board-and-batten wainscoting on the walls, transom windows letting morning light into every landing, and the linear crystal pendant doing the work of three light fixtures in one piece.
Stand at the bottom of the basement run and look up. The ceiling pattern, the pendant, the rectangle balusters, the oak treads — every element is talking to every other element. Nothing is decorative. Everything is structural in the editorial sense: take any piece away and the composition fails.
The stair becomes the floor of a room, and the room is overhead.
The upper landing — the X-cross coffered ceiling framing the stairwell below.
Top-down through the ceiling pattern — the linear crystal pendant drifting past every flight.
Looking down to the entry — the stair as the floor of a room.
Vertical context — coffered ceiling, rectangle balusters, raw oak descending.
The lattice baluster pattern at full reading distance — rectangle within rectangle.
The basement stair — same vocabulary, lower register, the run continuing through the house.
The U-shaped grand stair from the entry — board-and-batten wainscoting framing the run.
The hallway approach — looking back toward the stair from the upper floor.
Second-floor context — the stair landing into a hallway with transom-lit doors.
The tall vertical drop — three flights of rectangle iron and oak.
The U-shaped stair viewed end-on, the runner descending into the entry.
Where the stair meets the second-floor entrance — wainscoting, transoms, and the run continuing.
Upper-landing detail — the pendant and the run resolving together.
The balcony rail crossing the stair well, same rectangle vocabulary.
Mid-run detail — the rectangle balusters at their working scale.
Close-up on the iron — every rectangle welded, ground, and finished in our shop.
Alternate top-down view through the ceiling lattice — the geometry of the pattern overhead.
Closing frame — the stair, the pendant, and the X-cross ceiling all in one composition.
Tell us about the stair your house deserves.
The Elmhurst lattice.
A multi-flight stair under a deep coffered ceiling with a custom X-cross beam pattern — rectangular iron balusters, raw oak treads, a linear crystal pendant overhead.
The stair is good. The ceiling above it is the trick. A deep, inset coffered ceiling with a white X-cross beam pattern hovers over the entire stairwell, framing a linear six-cylinder crystal pendant that drops past every flight. The stair becomes the floor of a room, and the room is overhead.
We built a stair that holds its own under a ceiling that ambitious. Raw white oak treads — no stain, just a clear finish — sit on painted white stringers. The balusters are custom blackened iron, rectangle within rectangle, a quiet Mondrian rhythm that runs the length of every flight. The newels are chunky turned posts in matching oak, anchoring each corner without competing with the iron.
The stair runs from the basement through the main floor to the upper hall — a continuous multi-flight that ties three levels together. Board-and-batten wainscoting on the walls, transom windows letting morning light into every landing, and the linear crystal pendant doing the work of three light fixtures in one piece.
Stand at the bottom of the basement run and look up. The ceiling pattern, the pendant, the rectangle balusters, the oak treads — every element is talking to every other element. Nothing is decorative. Everything is structural in the editorial sense: take any piece away and the composition fails.
The stair becomes the floor of a room, and the room is overhead.
The upper landing — the X-cross coffered ceiling framing the stairwell below.
Top-down through the ceiling pattern — the linear crystal pendant drifting past every flight.
Looking down to the entry — the stair as the floor of a room.
Vertical context — coffered ceiling, rectangle balusters, raw oak descending.
The lattice baluster pattern at full reading distance — rectangle within rectangle.
The basement stair — same vocabulary, lower register, the run continuing through the house.
The U-shaped grand stair from the entry — board-and-batten wainscoting framing the run.
The hallway approach — looking back toward the stair from the upper floor.
Second-floor context — the stair landing into a hallway with transom-lit doors.
The tall vertical drop — three flights of rectangle iron and oak.
The U-shaped stair viewed end-on, the runner descending into the entry.
Where the stair meets the second-floor entrance — wainscoting, transoms, and the run continuing.
Upper-landing detail — the pendant and the run resolving together.
The balcony rail crossing the stair well, same rectangle vocabulary.
Mid-run detail — the rectangle balusters at their working scale.
Close-up on the iron — every rectangle welded, ground, and finished in our shop.
Alternate top-down view through the ceiling lattice — the geometry of the pattern overhead.
Closing frame — the stair, the pendant, and the X-cross ceiling all in one composition.