Buildings that carry the systems we sell — where each one is, what was supplied, and, where the record holds one, what the people on the job said.
26 references
A two-storey dark-clad house photographed mid-build, house wrap still showing, already glazed. Black aluminium crank-out casements with colonial grilles run through the elevations, with floor-to-ceiling sliding doors at ground level. Glazing at that stage is a scheduling decision as much as a design one.
A Mediterranean-style stucco house under a terracotta roof, with arched multi-lite casements and a round oculus with cross muntins. The units are cream aluminium crank-out casements with colonial grilles. Arched heads and grille patterns like these are drawn per opening rather than picked off a size list.
A teaching room glazed with tall black French crank-out casements — paired sashes with no centre mullion — under divided transom lights. Cranks at the sill keep the operating hardware low and out of the way, which is a large part of why the configuration gets specified in rooms full of furniture.
A poolside elevation with a run of top-hinged awning sashes cranked outward below fixed transoms, set into a dark-stained timber surround. Awnings suit this position because they can stay open in rain and they do not swing into the walkway.
A tiled-roof villa photographed at dusk, its tall arched windows glowing over a stone terrace. The units are timber round-top crank-out casements — a radial-divided arch head over a grilled operating sash. The arch is the reason for the job; the sash beneath it is the reason it is still a window.
A mountain house in board-and-batten and cedar, with a glass-to-glass corner opening the upper floor to the view and dark casements in cedar surrounds below. A cornerless assembly removes the post you would normally expect at that junction, so everything that post would have carried has to be resolved somewhere else. Recorded finishes are a honey-painted timber interior and a bronze exterior.
A cream stucco house under a pantile roof, with a round timber-framed window set beside a timber door and a wood casement. Shaped windows are made to the opening rather than to a catalogue size, and many of the geometric shapes can still be built to operate.
A red-brick house with a white-painted angled bay projecting from the front elevation under a copper hipped roof, its sashes divided by grilles. A bay is several windows joined to work as one assembly, so the angles, the head and the roof interface all have to be settled together before anything is cut.
A single-storey grey house opening onto its lawn through a four-panel lift-and-slide door in a dark frame. Lifting the sash off its seals before it moves is what lets a panel this heavy run easily and still close tight — the weight is the point of the system, not a problem to design around.
A villa bedroom opening to a terrace through a four-panel lift-and-slide door in a red frame, one bay pocketing into the wall. Pocketing gives a clear opening with no stacked panels standing in it, which costs wall depth and has to be agreed with the builder early.
A single-storey stucco house with a timber-slat accent, glazed onto its lawn with a dark-framed bi-folding door. The stack includes a swing access panel, so the opening still works as an ordinary door on the days nobody wants the whole wall open.
A white villa with a rooftop terrace, its covered patio and pool separated from the interior by a multi-panel folding door in a dark frame. One leaf is a swing access panel, so the run does not have to be folded back for ordinary comings and goings.
A brick bungalow fitted with deep-red aluminium-clad tilt-and-turn windows, including a half-circle transom over the entrance canopy and a matching front door. Tilt-and-turn gives two positions from one handle — vented on the tilt, wide open on the turn — which is the whole argument for the hardware.
A cut-stone house glazed with black narrow-frame tilt-and-turn windows with simulated divided lites, alongside an arched timber entry door. A narrow frame is a straight trade: less aluminium in the sightline, more of the opening left as glass.
A red-brick former industrial building with a sawtooth roof, re-glazed with tall arched black-framed units. From the street they read as traditional hung sashes; from inside they are tilt-and-turn. That is the usual compromise on a historic elevation — keep the pattern the building already had, and put a modern seal behind it.
A large white stucco house among firs, with long runs of divided-lite windows and a curved bay facing the water. The units are French tilt-and-turn pairs — two sashes, no centre mullion — so a wide opening reads as one light rather than two.
A light-brick two-storey house with black-framed round-top windows, circular dormers and an iron-and-glass double entry door. The round-top family covers eyebrow, half-eyebrow and half-circle heads, which is what lets one elevation carry several arch shapes without any of them being a one-off.
An apartment living room where a full-height oak-framed lift-and-slide door and its adjoining fixed glazing take the entire wall to the water. The larger the panel, the more the hardware matters: what a door like this can claim about sealing depends on the sash pulling down onto its gaskets as it closes.
A timber-and-brick house photographed at dusk, with oak-framed sliding doors wrapping the corner onto a deck and pool. Multi-slide runs are settled as pocketing or stacking before anything is ordered, because that decision belongs to the wall as much as to the door.
A corner multi-slide with no corner post, sliding back to leave the junction of two walls completely open over a low threshold. The record for this reference carries the location, the system and detail shots of the handle and sill track, but no photograph of the finished building — so nothing is claimed here beyond what was supplied.
A large sand-stone-clad public building, lit along its parapet, with rows of pointed-arch windows in burgundy timber frames and a gold-patterned double entrance at the head of a broad stair. Some of the arched lights carry etched decorative glass. Every head on this elevation is shaped, so nothing on it came off a standard size list.
A large white Mediterranean-French house with a blue-grey mansard roof, dormers and arched dark-framed windows, photographed from the air. Inside, a glazed entry door with sidelites and a leaded panel opens onto a tiled hall. The arch heads repeat at several sizes across the elevation, which makes it a drawing exercise before it is a manufacturing one.
A red-brick-and-cream house in a French manner, with arched dark-timber windows, wrought-iron balconies, mansard dormers and an arched double entry door. The elevation mixes square and half-round heads, so the frames were made per opening.
A stucco Mediterranean house photographed mid-construction, already fitted with oak-framed divided-lite windows, with a large arched opening still under scaffold. French casement pairs and swing doors complete the set. Glazing goes in at that stage on the strength of the schedule holding, which is a supply question before it is a site one.
A two-storey house in tan brick and stone with dark-framed windows, a skylit hip roof and a deep-red front door. The front carries a three-unit angled bay; tilt-and-turn windows and swing doors make up the rest of the schedule.
A white-painted brick house under a mansard roof, with black standing-seam awning hoods set over arched dark-framed windows. The windows are tilt-and-turn with divided-lite grilles, and swing doors complete the set. The hoods sit directly above the heads, which is a coordination question settled on the drawings rather than at the opening.
Location not recorded in the source, so none is claimed.
Developers, builders and hotel brands whose projects these window and door systems were supplied to.
Shown as project references. All marks are the property of their respective owners and their appearance here does not imply any endorsement of Nexwd.
Send an opening schedule and tell us what the building is. We will say plainly whether these systems suit it — including when they do not.
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