Zenix

Zenix is a family house in Bellevue, Washington, arranged over three levels with an elevator, a self-contained ADU and a basement media room. AVI designed the full interior, from the entry sequence to the primary suite on the top floor, around how a large household actually moves through its day.

The palette is deliberately restrained: light oak, warm white walls, dark plaster and near-black stone, with brass kept to small, precise moments. The contrast between pale wood and deep tones does the work that colour does elsewhere, so every room reads calm but never flat.

The foyer is organised before it is decorated. A concealed wardrobe keeps coats out of sight, a built-in bench hides pull-out shoe drawers, and a gold-framed mirror against black plaster gives the entry one clear focal point. To the side, the den stays visible through steel-and-glass doors: part of the house, but able to close.

A hallway leads on to the kitchen and living area, and the staircase is treated as a piece of furniture: oak treads, dark steel balusters, lighting hidden in the steps and sconces along the wall. The elevator is built into the same core and finished to match the house rather than the equipment.

The kitchen, nook and living room share one open level, so the kitchen had to be quiet enough to live in plain view. Light oak cabinetry runs floor to ceiling against a dark tiled backsplash and pale stone counters, with glass pendants over the island and small gold sconces as the only warm metal.

The working part of the kitchen sits out of sight. A hidden pantry with its own sink and dishwasher acts as a back kitchen, so prep and clean-up happen behind the wall and the island stays clear for family and guests.

The living room rises through two storeys, and the design lets the height stay generous rather than trying to fill it. Tall sheer curtains soften the windows, and a clerestory band brings daylight deep into the room.

Below, the seating is kept low and light: pale sofas, open lounge chairs with leather straps and a near-black rug that anchors the group. The volume above reads as air rather than emptiness.

The fireplace wall gives the room its centre. A dark surround holds a long linear firebox, the wall above is clad in pale tile laid in a textured pattern, and oak cabinetry with open shelving, framed in dark steel, flanks it on both sides.

It anchors the room without a heavy mantel, and the storage beside it takes books, objects and media, so the rest of the space can stay uncluttered.

A formal dining room was part of the brief, and it has a room of its own rather than a corner of the kitchen. Open pathways on either side keep it connected to the rest of the level, so it can host a long dinner without feeling closed off on an ordinary day.

Tall display cabinets with lit glass fronts and a sideboard line the walls. At the centre stands a black marble table with brass inlays, under a chandelier of clustered glass spheres that keeps the room light even after dark.

The primary suite takes the third floor. Light oak wraps the walls and ceiling, a soft grey carpet covers the floor, and a dark wood wall holds the TV and dresser. There is deliberately no fireplace; the room relies on material and light instead, and the walk-in closet continues the oak with a backlit full-length mirror.

In the primary bath, dark mosaic floors and walls meet a freestanding tub set by a large window, a double vanity and a separate makeup area. An early version read as too masculine; gradient wallpaper and lighter accents brought it back into balance with the rest of the suite.