Garden Levels Vary a Steep Slope in Australia

Untouched for a long time, this steep website in Northridge, a suburb of Sydney, had an unusable sloping lawn having an unfortunate perspective of the family’s carport. This outdoor area had small usable space, with the exception of a tiny paved area surrounded by a stone retaining wall.

Landscape designer Ken Pattinson and his team redesigned the space with a modern slant, incorporating several luxurious heights of tumbled travertine, water characteristics and gentle greenery. The levels take advantage of the entire space, now a relaxed oasis which allows the clients to enjoy the Sydney sunshine in solitude.

Location: Northridge, Australia
Designer: Artwork in Green
Size: 1,650 square feet

Art in Green

Pattinson met the challenge of this lot’s 7-foot height shift with several tumbled travertine patios, each connected with elegant stone staircase.

Curry leaf (Murraya koenigii, USDA zones 10 to 12)andlilly pilly (Syzygium spp) hedges help disguise the stunning level changes, making the garden feel more tolerable. Covering the carport wall in wood beamed its true identity and added a warm element.

Art in Green

Pattinson lighting strategy creates depth and entices people. Brushed chrome fixtures beckon visitors up the staircase, across stepping stone and above wooden patios. Light fixtures in water features highlight adjacent surfaces and plant shapes.

Art in Green

The garden’s most important water feature, a perpendicular drop, crosses three of those rock patios, linking them. Water is pumped from the lower level to the upper level, then pushed across the waterfall at the very top. A one way valve prevents it from draining to the lower pond once the pump is off.

A tank captures rainwater running off the garage roof and helps keep the water level consistent.

Art in Green

One of the plants featured in the bottom level of this water attribute are imperial bromeliad (Vriesea imperialis, zones 10 into 11) sweet flag (Acorus spp) and spiny-head mat-rush (Tanika Lomandra longifolia, zones 8 to 11).

Art in Green

Nick Kennedy of Art in Green made the tumbled travertine hardscaping; he utilized the very same stones on the stair treads, water feature stepping and coping stone.

Tiny Trev lilly pilly (Syzygium australe Tiny Trevas)lines the edge of the water. Papyrus (Cyperus papyrus, zones 9 to 10) adds elevation.

Art in Green

Turpentine, a durable Australian wood, was utilized for the decks, lounge chairs and carport wall. Japanese boxwood (Buxus microphylla var. japonica, zones 5 to 9), bay tree (Laurus nobilis, zones 8 to 10),hawthorn (Raphiolepsis spp), coastal rosemary(Westringea fruticosa) and wild thyme (Thymus serpyllum, zones 4 to 8) are pruned into ball shapes. The consistent use of substances — turpentine, travertine and similar plants — helps unify the multilevel layout.

More: See a Lush Australian Garden That Needs Little Water

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Roots of Style: Forms and Colonial Revivals Span Eras

Colonial revival architecture, in the context of the American house, first emerged in the previous two decades of the 1800s. It is considered among one of the very first diverse styles that proliferated through the first half of the 20th century. Its key origins are about the Georgian and Adam styles, which defined 18th-century home layout in the U.S.

Because this is an eclectic style, you will get a vast array of details and forms. The Dutch colonial, with its gambrel roof, is a favorite subtype. Most colonial revivals are symmetrical two-story homes, but you will also find asymmetrical and one-story colonials, in addition to a few with postmedieval influences.

Hansen Architects, P.C.

Another subtype of the style has a hipped roof and full-width porch on the main level, similar to this house. Compare it to the similar makeup of neoclassical designs, where the porch rises two floors. In addition, the hipped and based dormer, along with the centered triple upper-floor window, also helps to define this house as an eclectic colonial revival.

RWA Architects

At first glance you might consider this house Georgian, but have a closer look at the fenestration. Commonly on colonial revivals, the lower-level windows are grouped rather than spaced apart enjoy the upper-floor windows. The double-hung dividers have divided panes, or lighting, on the upper sash, but possess one pane of glass to the lower sash, a trait common to the revival but not used on authentic colonial houses.

Bearing in mind the eclectic nature of the resurrection, strange here would be the eave brackets, which can be reminiscent of the Italianate style. Also note the brick. Many ancient examples of the style needed wood siding, however, grand examples were full masonry construction. It was not till the early 1920s that the method of brick veneering developed, and it became the fashionable selection for many colonial revivals built later afterward, as illustrated here.

The architects have labeled this house for a foursquare, which describes its building type, rather than its style. Colonial resurrection foursquares are typical, as are Prairie-inspired foursquares. A foursquare is merely a strategy with two degrees, each two rooms wide and two rooms deep. The style is established in the particulars of windows, cornices, porches and entrances.

Jan Gleysteen Architects, Inc

This 1938 New England colonial revival confirms its classification with its date of construction. Since the popularity of this fashion persisted through the decades, tastes for much more densely correct designs resulted in many examples being almost indistinguishable to the Georgian and Adam houses that provided their inspiration. Set yourself back 80 decades and imagine comparing this house to one that has been 100 years old at that moment. The differences would be easy to see, because the more exact execution of machine-finished details on the newer house would be evident.

Notice the replicated Georgian entrance surround and its classically thorough entrance porch. Many variations and mixtures of these two elements alone help define the colonial revival style.

Morgante Wilson Architects

Notice the variety of window shapes and configurations in this side-gabled Chicago colonial resurrection. Dormers atop possess an arch; you will find just two sizes on the second degree; and tall, narrow French casements complete the motif on the main level. A small curved and classically detailed entrance porch shelters a modestly styled Georgian entrance surround.

The winged expansion to the left is another indication of colonial revival. Flat-roofed parts similar to this one can be enclosed or used as a porch, and were often added to original Georgian and Adam houses through the years.

Rock Spring Design Group LLC (David Verespy, ASLA)

A mixture of materials, windows and details makes for a unique composition here. Double-hung windows are characteristically grouped on the initial level but are capped with a wood lintel supporting the stone veneer. The balanced placement of oval windows and the classically comprehensive porch and entrance surround confirm its relation to Renaissance architecture, which affirmed the Georgian era. The mixture of colonial details and differently rustic appearance continue to be favored in neoeclectic variations of colonial revivals.

Dwellings

One-story versions tend to be called Cape Cods; they have origins in the first coastal New England settlements. Other variations of this form were reinterpreted in the Southeastern U.S., but were built mostly after ancient times. The setup, as in this instance, is still quite popular and appears in regional varieties around the nation. This contemporary house can be considered neoeclectic. Notice the wing to the left and the brick veneer quoins.

Steven Corley Randel, Architect

Although this 1941 California house is in need of some TLC, it marvelously demonstrates another subtype of their resurrection, known as the Garrison colonial. The inspiration goes all the way back to postmedieval New England houses. Several traits seen here are common to this type.

Postmedieval English houses often had a small overhang of the second degree, as does this house. Look carefully at the underside of the overhang and note the dangling pendants, another medieval trait and occasionally found in Garrisons. The overhang additionally provides a roof for its massive bay windows, which became remarkably popular in many styles through the 1950s.

As inside this altitude, Garrisons often had brick-veneer first levels and wood-clad second floors. This case goes somewhat farther with second-floor windows set into wall dormers with segmental arched contours and arched divided-light details.

Dennis Mayer – Photographer

Compare the previous house to this San Francisco–region Garrison interpretation. At right the second degree characteristically overhangs the very first. A similar prominent bay window comes forward under its gable. It is very likely that the wing to the left is a good addition to the original residence.

Dennison and Dampier Interior Design

A subtype using a casting centre gable is not as common. Notice the single-level porch here. Had the columns climbed to the second degree, this would closely follow Greek revival design. Pilasters at the corners and a Palladian window at the pediment supply more colonial revival individuality. This house also offers a flat-roof wing at left and 16- over 16-pane double-hung windows.

Wright Building Company

The colonial revival houses still being built are probably best defined as neoeclectic. The mix of rustic stone and classical details has become quite popular, as can be seen in the subsequent few examples.

While the centre body of this house follows the conventional configuration a wing at left and the protruding garage wing right bring this case securely into the 21st century. Classical proportions and particulars combine with a compound plan, setting a handsome and joyful appearance.

Peter Zimmerman Architects

Much more asymmetrical than the previous case, this house is extended at a similar compound formation. Several different secondary elements, like the dormers and chimneys, dance from 1 end to the other. Stone covers both centre kinds, helping to anchor its place and supplying contrast to the clapboard wings.

E. B. Mahoney Builders, Inc..

Note the subtle asymmetry with this house. As far back as the Queen Anne style, the classical detailing of the colonial revival would be implemented to less-formal front views.

The colonial revival has its deepest roots in Renaissance classical design. However, true to the eclectic designation, it borrows bridges and from other popular styles.

The colonial revival became overshadowed in the first two decades of the 20th century by Craftsman and Prairie styles, ancient forms of contemporary architecture. Nevertheless it trumped those two styles in the decades after World War I, as did American Tudor, Spanish and French eclectic, chateauesque and lots of different styles.

From the 1960s another wave of contemporary architecture, this time midcentury, suppressed the colonial resurrection as an influential and dominating taste across the United States. Nevertheless, the conventional type of the colonial revival is very likely to persist indefinitely, partly because it has so much historical importance and is such a classic and popular appearance.

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Morocco Meets Texas at a Family Townhouse

This Texas townhouse was bedecked in French country style for decades and needed a fresh look. The design inspiration: that the souks of Morocco and that nation’s love of cobalt blue, elaborate handmade rugs and patterned tiles covering expanses of walls, flooring and fountains.

Interior designer Laura Umansky responded with a new design inspired from your family’s extensive travels around the world and their love of Morocco in particular, including carved cupboard doors and cabinets, handmade Moroccan-style tiles, bold colors, forged metal figurines, textured cloths, rugs and more.

Switch off all portable electronic devices and buckle up; we are taking off for a location where Marrakech matches Houston.

in a Glance
Location: Southampton area (adjacent to Rice University) of Houston
Size: 2,965 square feet; 3 bedrooms, 31/2 bathrooms

Laura U, Inc..

“The heavy cobalt colour was the jumping-off point with the home’s color palette — I totally love this color,” says Umansky, of Laura U. “It’s a color seen frequently in Moroccan homes and is throughout the famed Majorelle Garden at Marrakech.”

Umansky and her staff worked with some architectural components from the original French country decor, such as these beautiful iron doors, which include a rich bronze finish, and the checkerboard travertine flooring.

Laura U, Inc..

“While there were no specific Moroccan interiors we referenced, we did incorporate Moroccan motifs, textiles and materials during,” Umansky says. She bought some special pieces through importers, while her clients supplied some of their own furniture and accessories.

Lamp: Arteriors

Laura U, Inc..

The house’s existing checkerboard travertine flooring tiles have been laid out in 45-degree angles and operate nicely with the Moroccan design.

Laura U, Inc..

This formerly dark study off the foyer is presently a light and colorful area that inspires among the owners, who spends her days writing.

Lights: Four Hands

Laura U, Inc..

Umansky and crew designed built-ins with woodwork that includes exotic curves and laser-cut panel inserts. Perforated hammered-tin lanterns hang.

Panel inserts: Custom Mouldings

Laura U, Inc..

A local artist painted this mural in the nursery, which adds vibrant graphics for the clients’ newborn daughter.

Laura U, Inc..

A variety of fabrics transformed the owners’ existing white slipcovered sofa. “It’s the combination of different textures and patterns which makes this space feel comfy and warm,” Umansky says.

The doorways throughout the house are painted high-gloss cobalt blue. “This was a tiny scary decision, but once we watched them, we were thrilled,” she says.

Laura U, Inc..

“Our customer requested a blue sofa — it was in the very top of her list,” Umansky says. “It made it very simple for us to inject color into the home. She had no dread of vibrant hues whatsoever!”

Laura U, Inc..

The customer found this complicated mirror at an importer’s warehouse at Los Angeles and knew it belonged to the home. Umansky had an armoire fabricated to allow the mirror function as its center doorway.

Dining table: Oly Studio; Moroccan dining area lanterns: Curry and Company, accessible via Laura U

Laura U, Inc..

Umansky utilized quite a few textured tiles at a monochromatic palette to create architectural details about the dining area’s columns. “We were able to enrich the inside without using color anyplace,” she clarifies.

Laura U, Inc..

The vibrant zigzag tile surrounding the fireplace draws the eye to the center of the far end of this space. More custom built-ins surround it but fade into the background, allowing the tiles require the spotlight.

Laura U, Inc..

The kitchen was closed off from the remainder of the living space. Taking away the wall between the living room and the living area was the first design movement. “We utilized a graceful curve to create a bit of separation in the ceiling,” Umansky says.

Dimensions: Walker-Zanger; pub stools: Abacus, Noir Furniture

Laura U, Inc..

Cobalt blue appears again at the master bedroom on the mattress and the doorways.

The blue-green timber flooring that worked with the house’s former French country style translated nicely to the new Moroccan style. “We loved them and thought they brought a bit of rustic ambiance,” Umansky says.

Laura U, Inc..

Both client and designer agreed that window chairs create spaces in which people really like to spend time, and they found areas to nestle them through the home. This one provides a reading nook just outside the master suite.

Laura U, Inc..

The main bath needed a complete remodel, such as taller-than-average dressing for the tall homeowners.

Patterned-tile walls are common sights in Morocco. Umansky picked a lively pattern at a subdued palette to fit the Texas home.

Laura U, Inc..

A chair-rail-high band of teal paint supporting tall upholstered headboards plays with scale and complementary colors in the guest area.

Laura U, Inc..

Bold cloths, curved walls and elaborate lanterns continue onto the loggia. “This home has a fantastic outdoor area that people diagnosed with outside drapery,” Umansky says. “The drapery is made using 100 percent solution-dyed acrylic fabric, which is excellent for outdoor use and a breeze to maintain,” she says. “You can clean it with a bleach-water solution.”

Laura U, Inc..

A bonus room over the garage functions as a small getaway spot and is a complete departure from the rest of the house — with the exception of this bit of cobalt blue. Everything else is black and white. “It’s an unexpected color combo which we had a ton of fun with!” Umansky says.

Refrigerator: Smeg

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Big Bay Views Buoy a Seattle Floating Home

The owner of the floating house wanted to have the ability to delight in the sublime Pacific Northwest views beyond its walls longer. She’d dubbed her current house”a floating double-wide,'” says interior designer Kim Mankoski of Kim Mankoski Interiors. She wanted something more contemporary, industrial and open to make the most of her life on the water.

Mankoski, architect Ryan Mankoski of Ninebark Design Build and Dyna Contracting flocked to create a cohesive design with an open design. The result has two glass sides wide open to spectacular views of bay waters, the University of Washington and the mountains beyond.

Floating at a Glance
Who lives here: A woman and her cats
Location: Portage Bay (between Lake Washington and Lake Union), Seattle
Size: 1,200 square feet, 1 bedroom, 1 bath

Dyna Contracting

The house was tugged away to neighboring Ballard, Washington, where the work was completed, then reunite. The original float serves as the base for the new residence. Everything was constructed from scratch. The project took about 10 months.

Dyna Contracting

Glass partitions fitted with double doors anchor two sides; another two sides include smaller and storage windows for privacy from neighbors. The open plan allows the owner to enjoy the views from every room.

The homeowner wanted a contemporary industrial fashion, but a concrete flooring was out, because of its weight. Kim Mankoski discovered a marmoleum product that has a concrete appearance.

Floor tile: Click tile in Lava, 12 by 36 inches, Forbo; pendant lighting: David Trubridge Coral Pendant, YLighting

Dyna Contracting

The exterior has a challenging industrial appearance as well, mixing structural steel, Cor-Ten steel glass and panels. Salvaged cedar accents hint at the warmth inside and remind us why this whole home floats in the first place — that the cedar float below.

Dyna Contracting

“My client wanted everything shipshape,” Mankoski states, so she made streamlined, efficient storage through the house to hold everything.

If you look closely, you can see a ladder out across the left side of the photograph. The homeowner uses this to access the kayak attached to her house.

Cabinets: habit, Baywood Cabinets

Dyna Contracting

The design team took some inspiration from The Farnsworth House and used a central center to hold the kitchen, bathroom and closets, and to divide the major living space from the bedroom. A strict color palette through the house highlights the beauty in the substances’ textures as well as the contrasts.

Sofa: Theater sofa, Design Within Reach; dining table: client’s own

Dyna Contracting

High-gloss crimson painted cabinets include a burst of colour, while a steel backsplash and shelves include industrial fashion. Bamboo woodwork conceals the fridge on the right. The countertops are Squak Mountain Stone, a composite product made from recycled paper, recycled glass and low-carbon cement.

Dyna Contracting

A wall of storage incorporates spots for books and display. The”D” is from the exterior of the old floating home. Mankoski made the built-ins with a TV in your mind for that spot.

Tongue and groove fir paneling wraps up the walls and ceiling. A few of the closets have acrylic doorways by 3form with an organic pattern on these, a detail that’s replicated from the bathroom.

Coffee table: walnut, BoConcept; rug: Flor; cabinet doors: acrylic, 3form

Dyna Contracting

Dyna Contracting

Reclaimed tongue and groove paneling extends to the bedroom, and the bed looks through a generous wall of glass.

Wall paint: Just White,Benjamin Moore; bed: Malm, Ikea; shag carpet: Ikea; Danish chairs: classic

Dyna Contracting

The bathroom also has streamlined storage composed of floating pine shelves as well as the exact same 3form acrylic doors used in the living area.

The custom zinc counter and sink are one piece. Mankoski chose porcelain tile with a patina that resembles that of basalt. The wall tiles have ridges that include a subtle industrial texture.

Dyna Contracting

Skylights bring natural light to the bathroom. In this deep shower, an old part of the cedar log float that wasn’t needed now serves as a shower seat. Since it had floated to the water for a number of years lived just fine, the client opted to not seal it.

Tiles: BSP, Pental; showerhead: Raindance 240 Air Showerhead, Hansgrohe

Dyna Contracting

Cable railings and metal measures continue the industrial vibe out. Untreated cedar produces a rain screen, a must in Seattle’s climate. The timber also adds contrast and warmth to the metal and glass.

Dyna Contracting

Between the roof deck and the smaller balconies below, the homeowner gained about 450 extra square feet of living area. The roof deck has got the best uninterrupted views.

Know more about life on a houseboat or floating home

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Fashion a Greens-Laden Tablescape for Spring

For a fresh and personal way to decorate your spring table for brunch, Mother’s Day or any day, combine particular pieces from the china cabinet with a delightfully casual mix of blossoms and bright green foliage. Get the one-of-a-kind out of New York floral designer Dana Worlock here.

Rikki Snyder

Rikki Snyder

With this placing Worlock stuck with a green colour scheme with a touch of pink. The greens include plumosus, hellebores, peonies, dogwood and, for only a little edge, tins filled with grass.

Tools and Stuff:
Clear floral tapeScissorsSharp cutting knifePermanent markerTins
Flowers and foliage:

PeoniesRanunculusPaperwhitesPlumosusHelleboresDogwoodFlat of bud

Look through your dishes to learn what pieces you can utilize. We opted for Many Different milk glass vases and a cream and sugar set from Ole Carousel Antiques in Stanfordville, New York.

Rikki Snyder

1. Start with your bouquet.

Beginning with the most significant vase and peony blossoms and buds, hold the flowers upright on the table near the vase to measure out the desired elevation. To maintain the peonies fresh while you are working, cut the stems at a sharp angle and set them in cold water.

Rikki Snyder

Add additional peonies to fill out the arrangement. Include stems with buds not yet available for a natural, asymmetrical arrangement. Twist the vase as you go to ensure every side seems great. Fill gaps with paperwhites.

Rikki Snyder

2. Produce a simple bud vase arrangement.

In a bud vase, begin with a long slice of plumosus, allowing its branches to drape across the vase. Insert a simple stalk of hellebores next.

To help keep the hellebores fresh longer, cut the stems at a sharp angle and set them in hot water before adding to the arrangement.

Rikki Snyder

3. Fill a sugar cup with dogwood and ranunculus.

Use strips of clear floral tape across the top of smaller vessels to hold the flowers in place.

Rikki Snyder

Beginning with more plumosus since the base, put each piece from the vase around the tape.

Rikki Snyder

Next add twigs of dogwood for more height and texture.

Rikki Snyder

Finish the arrangement with green and pink ranunculus, stems trimmed so that only the blooms are visible. Fill out the empty spaces with more dogwood.

Rikki Snyder

4. Fill a creamer with plumosus and hellebores.

Start again with a base of plumosus.

Rikki Snyder

Insert snippets of the green hellebores. The wildness of the arrangement adds great contrast to the screen.

“I typically don’t have a set method of arranging,” Worlock states. “I like to be inspired by the appearance of each vessel and play with flowers, texture and shape to acquire something that is unique and beautiful.”

Rikki Snyder

5. Insert spring bud to rustic tins.

For a fresh accent piece, Worlock used a flat of grass and metal tins out of Terrain in Westport, Connecticut. Grass similar to this is found at the local florist.

Flip the sheet of bud over, up root. Use a permanent marker to trace around the tin to get the appropriate size.

Rikki Snyder

Using a sharp knife, cut along the line you attracted to separate the piece in the flat of grass. Cut directly through the roots and dirt.

Rikki Snyder

Carefully set the piece of grass to the tin, then using the knife to assist it into place. Water the grass daily to keep it fresh longer.

Rikki Snyder

6. Arrange your centerpiece.

Now you’re ready to set the arrangements on the table. Put the tallest arrangements in the center and the shorter ones on the ends.

Rikki Snyder

Have fun adjusting every arrangement, checking for equilibrium from many angles. Permit the plumosus in every arrangement to intertwine with the one next to it.

Rikki Snyder

Stagger the tins of bud throughout, as you would with a garland.

Rikki Snyder

7. Put the table.

Use dishes you have on hand which go with your colour scheme. Worlock used classic white plates with a golden rim from Cottage Antiques in Westchester, New York; stemware she bought at an estate market; and white mugs which were a gift from her sister.

Rikki Snyder

Flatware passed down from grandparents and quantity napkins from Wisteria finish the setting.

Tip: You are able to temporarily anchor the ends of these tables with additional grass tins, then whisk them away when it’s time to sit down.

Rikki Snyder

Insert any extras you like. A green toy and white votive candleholders add a unique touch. Change the water and trim the ends of these flowers daily to keep them lasting longer.

Your turn: Will you be hosting a brunch this spring? Please share a photo of your tablescape below.

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12 Vegetable Peelers to Make Quick Work of Your Garden Bounty

I am already dreaming about gardens and exactly what I can plant this season. At our home a garden means plenty of vegetables. Part of preparing for the summer harvest means locating exactly the right tools to prep those vegetables for dinnertime. We certainly need to put in a peeler that’s ready for the hard skins of butternut squash, in addition to the softer apples my daughter likes to munch on. It appears the 1 peeler we have is always missing at our house. So maybe it’s time to pick on on one of those peelers. They’re definitely up to the job.

Williams-Sonoma

Ghidini Dual Blade Peelers – $9.95

A handle with lots of areas for grasping and reversible blades create these peelers very useful. The reddish peeler reverses into a serrated blade, while the green peeler reverses into a julienne blade.

Chef’s Resource

Palm Peeler – $5.95

This palm peeler makes fast work of peeling potatoes and carrots. You hold it in the palm of the hand, which feels far more natural than trying to grasp a slippery handle.

Williams-Sonoma

Swissmar Stainless-Steel Curve Peeler – $15

Although this peeler seems odd at first glance, the activity shot proves it should be a breeze to use, ergonomically speaking.

Gretel Home

Peeler, Yellow – $17

This peeler gets top marks for modern appearances — and the silicone-covered handle is also functionally gripworthy.

Kitchen Kapers

Joseph Joseph Rotary Peeler Green – $11.99

Three peelers in one, using a simple turning to get to the peeler you require for the job available. Additionally, the protective case opens for easy cleaning.

Amazon

R̦sle 12735 Crosswise Swivel Peeler Р$27.95

This peeler combines classic lines with modern purpose — the simplicity of the shape is essential.

made4home.com

Misto Dual Twist Peeler – $4.99

This little peeler features two blades: 1 for softer veggies and you for harder skins.

CUTCO

Vegetable Peeler

This peeler has a finger-friendly design plus a pleasant, sharp double-sided blade. The curved shape imitates your natural motions, also.

BigKitchen

WMF Cromargan 18/10 Stainless Steel Profi Plus Vegetable Peeler – $12.99

Heavyweight and ready for the most professional of chefs, this peeler has a slick style that’s ideal for a modern kitchen.

Amazon

Swissmar Peeler Scalpel Blade, Blue – $9

This thinner scalpel peeler still peels all the difficult stuff — plus it’s a side cutter for the eyes on potatoes and other small blemishes.

Amazon

Kuhn Rikon Julienne Peeler With Blade Protector – $15

Get fancy with your veggie demonstration by changing to a julienne peeler.

Williams-Sonoma

Kyocera Adjustable Ceramic Peeler – $19.95

A ceramic blade helps maintain vegetables from discoloring, and an adjustable-angle attribute helps you find just the right depth.

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