Montecito, where the light arrives already edited by the Santa Ynez Mountains and every surface must answer to it. Here the mottled figure's golden-tan base and amber depth don't merely decorate a room—they participate in the coastal luminosity itself, those tightly stacked ripples catching Pacific-filtered sun and returning it as warmth against limestone and white plaster in a way that Montclair's shaded canopies never demanded. The three-dimensional shimmer that defines this particular flitch becomes, in Montecito's open-plan estates, a wall-length kinetic event, the ribbon striping shifting register as afternoon shadows lengthen through floor-to-ceiling glass. It is veneer performing at the scale of landscape, and as the sheet travels east toward the tighter, more traditional millwork profiles favored in