Serving as the center of the Lynch compound, consisting of several separate buildings, is the Beverly Johnson House from 1963, designed by Lloyd Wright, son of Frank Lloyd Wright. With its clear lines, cantilevered surfaces, and a shift between transparency and retreat, it architecturally anchors the property. For Lynch, it was both his center of life and workplace. Sketches, paintings, sound works were created here, and films were edited here. The fact that the house remained functional for decades is due to its simple, robust construction, which focused neither on superficial effect nor short-term trends.

The house was complemented by a pool and poolhouse, designed by Eric Lloyd Wright. This continued the architectural family lineage: Lloyd Wright with the rigor of the residence, Eric Lloyd Wright with the landscape-oriented expansion. The pool area is more than just an amenity: it integrates the outdoor space as a place to stay and demonstrates how architecture can be excitingly embedded into the sparse topography.

Another building on the property, often described as brutalist, provides a contrast. Its raw presence, sharply cut openings, and angular rhythm make it a counterpart to the organic Wright structures. In »Lost Highway«, it became a cinematic character itself, a house that generates tension without needing a plot. For »Mulholland Drive«, the compound also served as a production environment, with editing and screening rooms where the film was finalized. For Lynch, architecture was never just a backdrop, but an instrument for controlling perception.

The choice of materials also underscores this—mineral plasters, wood with visible grain, and concrete with discernible formwork joints characterize the surfaces. Metalwork, partly crafted by Lynch himself, marks furniture and lighting. The rooms appear robust yet flexible enough to accommodate various forms of work, from painting to film editing, from music to photography.

The hillside location dictates the arrangement of the buildings. Terraced structures follow the topography, sightlines are guided like camera movements, paths open and close. The sequence of light and dark, narrow and wide, bottom and top not only structures the daily routine but also gives the area its own dramaturgy. Landscape and architecture are inextricably intertwined, and the place thrives on this tension.

At the same time, the property is consistently marked by a personal signature. For Lynch, house and studio merged. Many elements bear traces of his interventions: improvised workshop solutions, seemingly provisional constructions, yet precisely placed colors and surfaces. This mixture explains why the ensemble feels »Lynchian« without being stylized. It is a place that sharpens attention and fosters productivity.

The fact that the compound is now being offered for sale as a complete entity—by real etsate agent Marc Silver of The Agency—points to its special status. It is not being treated as an empty property, but as a developed landscape for living and working. Whoever takes it over will receive not just land and buildings, but a functional structure that has enabled artistic work for decades.

The property demonstrates how architecture can be understood as a working environment—not as a mere object, but as an artistically conceived framework for life and production. And it is a document of how closely architecture, film, and art were intertwined in Lynch’s life. The approximately 3,600 square meter David Lynch compound in the Hollywood Hills, with living and working spaces, studios, and workshops, is currently being offered at a »listing price« of 15 million dollars. However, the intangible value of a place where such a formative body of work was created over decades cannot, of course, be quantified. Nevertheless, a figure had to be named, and so there is now a sum that marks the market value, but not the cultural significance of the iconic Lynch-compound. [Red.]

Located slightly below the hustle and bustle of Sunset Boulevard, the hotel focuses on a much more understated form of self-presentation. Even the inconspicuous, almost hidden driveway bears witness to a 5-star hotel that focuses on discreet, unagitated luxury, well thought-out comfort and a restrained design concept between cool Britishness and generous Californian economy of space.

Opened in 2008, The London West Hollywood—formerly known as the Bel Age Hotel—was (re)designed by renowned London design studio David Collins. The much more opulent décor of the original Bel Age was transformed into a refined design style that translates the classic grand hotel concept into a contemporary form. Muted colors, generous proportions, quality materials and only selective glamorous accents characterize the aesthetics of the hotel. The consistently unagitated design vocabulary is intended to represent a fusion of Anglo-European lifestyle with dignified Hollywood luxury.

The 226 bright, spacious suites all feature oversized bathrooms (designed by luxury outfitter Waterworks) and balconies with impressive panoramic views—of either downtown L.A., the luxury villa-lined Hollywood Hills, the Sunset Strip or the neighboring Beverly Hills to the west. Light natural tones, soft textiles and only a few accents in brass or dark wood characterize the furnishings. The high-quality materials, muted color schemes and generously structured rooms are the main protagonists at The London West Hollywood—Glamour and opulence are usually only hinted at.

As the highest bookable category, the two-storey penthouse suite—is the largest of its kind in Los Angeles—and offers a guest experience at the very highest level. The over 1,000 square meters luxury penthouse was personally furnished by Vivienne Westwood and, quite surprisingly for the designer, follows a very simple style with clean lines. The suite features a grand salon, a dining room with a view of Beverly Hills, a modern kitchen with a private service entrance, light-flooded atriums, a fully equipped media room and a private roof terrace with a 360-degree view.

No less impressive is the hotel’s general rooftop terrace with pool, bar and cabanas, including an impressive view over Los Angeles. The hotel’s own 110-seat cinema hall for screening events that are of course particularly relevant in L.A.—, including a private VIP entrance—, also deserves a special mention, as does the Fifth Avenue Club, a branch of the American luxury department store chain Saks Fifth Avenue, which offers guests personal styling and shopping by appointment.

In the gastronomic area, too, the focus is on the highest quality and attention to subtle detail: the design of the London Bar and the adjacent in-house restaurant Boxwood is inspired by English conservatories and orangeries and is flooded with light, equipped with furniture in mostly light natural tones and subtle Art Deco touches in places. The culinary focus is on modern, seasonal and innovative Californian cuisine with occasional references to British classics—created by head chef Anthony Keene, who took over the hotel’s former Gordon Ramsay Restaurant as executive chef in 2010.

By the way, it does get a little playful: the official mascots of The London West Hollywood are two bulldogs named Winston and Churchill. The two signature pups can be seen again and again at—whether as small statues in the lobby or bar or as eye-catching artwork by the rooftop pool. Perhaps a subtle nod in the direction of staging or simply a reminder that British charm is best expressed with a pinch of humor. [Red.]

As one of the most famous mid-century masterpieces in Los Angeles, the Sheats-Goldstein Residence designed by John Lautner is considered an architectural icon and has been the setting for countless film and music video productions. And if Hyundai has its way, its new electric SUV will also be iconic. It was therefore an obvious choice to use this architectural jewel in Benedict Canyon  as a spectacular stage for the world premiere of the IONIQ 9. And as we all know, goals should be set ambitiously.

»Aerosthetic«—is Hyundai’s very elegant neologism for the design concept, which aims to harmonize aerodynamics and aesthetics as much as possible and which the IONIQ 9 now presented is intended to reflect in a very special way. »We did not design a typical large SUV, but an Aerosthetic Lounge, with a seamless blend of remarkable aerodynamic performance and refined design«, emphasizes SangYup Lee, Head of Hyundai and Genesis Global Design. And this approach is particularly evident in the harmoniously curved roofline, which sinks elegantly towards the rear to end in a strikingly sharp drop reminiscent of a classic boat stern. This silhouette not only gives the IONIQ 9  impressive efficiency in terms of aerodynamic drag, but also a remarkable dynamic elegance and distinctiveness that is often lacking in many other vehicles.

»If you look at the car from the side, the roofline is very unique. It’s a fast line  as we call it, very swung back, and the rear of the car is chopped— almost like a 90-degree chop. And when you analyze aerodynamics, this is the ideal shape to get the most range out of a car. But at the same time customers also want a large interior. So achieving this ideal balance was quite a demanding aspect of the design process«, Kevin Kang, Head of Interior Design at Hyundai Design North America, also reports on the challenges involved in shaping the IONIQ 9.

In any case, the clear, horizontal lines along the body, which further emphasize the length of the vehicle (namely over 5 meters), and the strikingly muscular wheel arches, which give the otherwise very tidy, almost minimalist-looking vehicle a powerful appearance, also appear elegant. Organically integrated door handles, which are flush with the body when in driving and resting mode, not only help to improve aerodynamics, but also emphasize the purist aesthetics of the vehicle.

On the other hand, design details at the front and rear are less purist, where the parametric pixel patterns in various designs, which have already been introduced as a trademark on other models in the IONIQ series, dominate. We want to know from Kevin Kang whether this playfulness is not at odds with the otherwise quite reduced and clear design of the IONIQ 9: »Well, the exterior design always has to be a good balance between what one perceives at first glance and what you see at second or third glance. The second and third layers of perception reveal the details—like those pixels. I think, keep everything too clean and simple can make the customers associate the product with blandness. You need some kind of spice. And pixels are where it gets interesting. When you look at it the second time, third time, the details are what keep you excited. Also we wanted to make sure that it’s consistent with cars like the IONIQ 5 or 6  which also have the pixel pattern. So that’s how we create a family look for our lineup.«

The interior with its variable seating arrangement in a total of three rows (either a bench or two individual seats in the middle) is fully in line with Hyundai’s aforementioned »lounge« concept. The generous interior design is complemented by high-quality and often sustainable or recycled materials, while features such as USB ports in each row and a sliding center console are well thought-out comfort extras. The so-called »Relax seats« and the panoramic roof are designed to ensure well-being and comfort. Simon Loasby, Senior Vice President and Head of Hyundai Design Center, describes it this way: »IONIQ 9 offers the ultimate lounge-like environment. Its nature-inspired, lounge-like interior reflects our progressive approach of how we envision the technology, customer-centric design and tranquility, coming together seamlessly in the future of mobility«.

Despite all the progressiveness, Korean tradition should not be neglected, emphasizes interior designer Kevin Kang: »A lot of interior elements actually are inspired by Korean clothing. In Korea, we have this traditional clothing called Hanbok. It’s absolutely beautiful, the texture of it is gorgeous. It’s elegant. It’s timeless. People still wear it in Korea. And we wanted to capture some of these Hanbok elements and applied it to deco garnishes, leather patterns or treatments—but of course in a very subtle way, selecting designs we believed to be iconic enough to withstand the test of time.«

In connection with the term iconic, which was used so often that evening at the Sheats-Goldstein Residence, a name that is still omnipresent in the Hyundai design universe should of course not go unmentioned: Peter Schreyer —, the legendary German automotive designer who not only established a new design language but also a thoroughly revolutionary vision at Hyundai, first for Kia and later also for the products of the large parent company. »A truly legendary guy. I have a lot of respect for him and he is still here to answer questions and we keep in touch«, says Hyundai designer Kevin Kang about Schreyer’s legacy and his current role as Executive Design Advisor. »I recall his strong emphasis on interior ergonomics and the invaluable lessons he shared. One of the things he said was: Interior is not drawings. He insisted on creating full-scale prototypes, encouraging us to sit, reach, and touch the surfaces to truly assess the quality of the design: Touch it and feel it. And if it works, then it works.« [CS]

While the prestigious Aman Hotels have expanded far beyond the physical dimensions of the original vision of »modest, warm hospitality of a gracious private home« since their inception in 1988, they remain true to the approach of creating a collection of retreats with maximum privacy, exceptional design and unparalleled service.

Located at one of the world’s most prestigious addresses—at the intersection of Wilshire and Santa Monica Boulevard—the mega-project comprising an Aman hotel, exclusive residences and the Aman Club, Aman Beverly Hills continues the brand’s strategic vision for growth in global cities, following the opening of Aman New York in 2022.
As in the past, long-time Aman collaboration partner Kerry Hill Architects (KHA) was commissioned to create the designs for the project. Known for their signature design and mindful approach, KHA has developed a context-sensitive design for the Aman Hotel, Club and Residences in Los Angeles.

The design by the architecture studio based in Australia and Singapore reflects the vibrancy of the metropolis and the unique garden setting of the project by retaining the feeling of an oasis despite the incredible architectural radiance. This is made possible by the contemporary aesthetics, a neutral color palette in harmony with the Californian nature and the use of natural materials such as stone and wood, which provide the necessary warmth in the wide, open spaces from which guests, owners and club members can enjoy a sweeping view over the city.

Aman Beverly Hills will include a 78-suite hotel as well as a limited number of private residences located in two landmark residential towers adjacent to the hotel. In addition, the Aman Club will offer various wellness facilities over an area of 100,000 square meters. This makes it the first independent Aman Club in the brand’s constellation. [Red.]

To what extent can a look inside a vehicle reveal the influence of language, religion, economics, politics and other value systems in the private lives of its owners? The American photographer and artist Phil Jung looked through the windscreens of parked cars with his camera and made this otherwise rarely so transparent boundary between public and private space the subject of his »Windscreen« series.

»I see this group of images as a contemporary look at our social landscape through the windshields, or windscreens, of parked cars. I am fascinated by how these unique personal spaces can be rendered in a photographic image. A car’s interior defines the line between public and private space. While peering into these spaces I wonder if the interior, often littered with personal articles, can describe the way language, religion, economy, government and other cultural phenomena play a role in the owner’s life. The biggest challenge of the project is taking something as iconic as the automobile and adding something new to a conversation that has been going on since its inception. The gasoline-powered vehicles that were introduced in 1896 represented freedom, hope, exploration and independence – quintessentially American ideals. By 1947, when the photographer Wright Morris made his image of an aging Model T, those early ideals had already begun to deteriorate. Like Morris’s pictures, »Windscreen« is about a culture that is disappearing. When combing through neighborhoods for cars, I look first for the way light enters a car and renders color. If I find nothing inside its cabin that tells something about its owner, I move on. Above all, the car needs to be drivable or just recently taken off the road. If a car sits for too long uninhabited, it loses something. The composite of this space reflects who we are, where we come from and, possibly, where we are going.«

Windscreen, Phil Jung, 2022. Erschienen bei TBW Books.

Vienna – Los Angeles

Directly after studying architecture with Otto Wagner at the Academy of Fine Arts in Vienna, Rudolph M. Schindler emigrated to the United States in 1914. Alongside his compatriot Richard Neutra and other illustrious names such as Gropius and Mies van der Rohe, he quickly became one of the most respected representatives of a new, progressive architectural development, the »Neues Bauen«.

Already in his manifesto of 1912 – later published under the title “Space Architecture« – he records his interpretation of space as the medium of an architect’s art and in this context also speaks of Frank Lloyd Wright as a »space architect”, who with his open space concept had a formative influence on Schindler’s practice and for whose architectural firm he worked for four years. Among Wright’s commissions, he supervised the construction of the legendary Hollyhock House in East Hollywood, built for oil heiress Aline Barnsdall.

PROTOTYP

Schindler’s philosophy of »spatial architecture« is probably best exemplified by his own home on Kings Road in West Hollywood. The structure now known as Schindler House can be seen as a model house of his work, which, with the exception of a manageable number of larger buildings, focuses exclusively on the single-family home.

If it was primarily Schindler’s wife Pauline Schindler who was interested in alternative models of living together, a stay in Yosemite National Park in California consequently inspired the architect to rethink the common model of a »residential house« as such and provided the final impetus for the realization of the building designed for two couples.

Schindler’s translation of the structures of the campground there expressed itself through the open space concept of living and open spaces that was so central to him. In the spirit of a modern form of living together is not only the attached guest apartment, but also the two overlapping L-shaped residential complexes, where the interlocking volumes of space were used as a common room and kitchen. Schindler’s new ideas for space are also evident in the way the interiors are structured with simple cubic forms, freestanding wall panels, and large window walls that open up the space to the garden area and connect them fluidly. He continues these clear design principles in the interior design as well – his simple furniture designs are an integral part of the overall concept, which is based above all on the pursuit of practicality.

In prestigious company

The formal spatial situation of the house allowed the Schindlers to live their idea of modern living together within a community. From the completion of the building in the early summer of 1922, they lived not only with the friendly couple, contractor Clyde Chace and his wife Marian Chace, until the summer of 1924, but also with his colleague Richard Neutra and his family for several years from 1925.

As a workspace and retreat for individual development, all residents had their own studio room at their disposal; there were four in total. The sleeping-porches, however, were located on the flat roof of the house, made possible by the mild Californian climate, and covered with canvas to protect them from sun and rain.

The complex natural conditions of nature were an aspect of building that Schindler always carefully considered in his planning. Originally, the house stood on extensive undeveloped land and was designed to be part of a large garden complex that corresponded with the typical expanse of the California landscape. A perfect backdrop, which over the years, despite numerous efforts to prevent this, had to give way to newly built apartment complexes.

MAK Center Los Angeles

Since 1994, the Schindler House has been operated as a dependence of the
MAK
Vienna since 1994. As a California branch, the MAK Center Los Angeles is based in three of Rudolph M. Schindler’s most architecturally significant houses. In addition to the Schindler House, the Fitzpatrick-Leland House (1936) and the Mackey Apartments (1939) will be used as sites for research, art production, and interdisciplinary dialogue. [DM]

The  Sunset Tower, at the address 8358 Sunset Boulevard, is truly an institution. Completed in 1931, the luxury hotel has been attracting international celebrities and Hollywood stars for almost a century, as well as anyone else who wants to spend a little time in the glamour of the moon.

Already in its initial phase, the  Sunset Tower was built with the clearly defined aim of accommodating primarily illustrious guests. In order to reach the target group, the house and its privacy were then also advertised, among other things, in the Screen Actors Guild Magazine. At the time of its construction, the Art Deco tower was the tallest residential building in the city, making it a direct landmark in West Hollywood. Even if 15 stories are no longer enough to break records in Los Angeles, the striking building continues to be an imposing monument on the otherwise architecturally rather limited but all the more vibrant
Sunset Boulevard.

This is especially ensured by the facade, which with its opulent ornamental frieze adorning Adam and Eve as well as various motifs from flora and fauna, is a prime example of the architecture of the late 1920s and early 1930s. Vertically arranged window strips reinforce the soaring appearance of the Sunset Tower.The striking upward lines are emphasized, especially at night, by the deliberate use of lighting. But the hotel embodies the golden era of Hollywood not only from the outside.

In 2018, the house was given a facelift, managing to preserve the soul of the listed building despite various modernizations. Inside, highly polished precious woods, leather in various shades of brown, and Art Deco-style furniture are ubiquitous. Glossy black wall stucco molding, along with heavy rugs and curtains, create a nostalgic, sophisticated ambiance in many of the hotel’s rooms. It was deliberately avoided that too much beige harmony leads to stylistic monotony in the interior design. Gold accents and shades of pink provide quite unexpected moments when walking through the house. At the pool, stylistic elements from the 1950s are also humorously integrated into the design; sunshades with sweeping lines and loungers with striped upholstery also exude a touch of Palm Springs atmosphere. Fittingly, the hotel’s Terrace Bar, furnished with potted palms and club chairs, is directly adjacent to the pool. After all, cocktails are the best way to meet Hollywood stars, whether at the bar or in the water. [AD]

In the heart of West Hollywood, between the legendary Santa Monica Boulevard nightlife district, prestigious Melrose Avenue and tranquil West Hollywood Park, rise the striking monolithic buildings of the Pacific Design Center (PDC). Designed in 1975 by renowned Argentine architect Cesar Pelli, the trio of postmodern glass buildings functioned for many years as the West Coast flagship of contemporary design. And even though the imposing building complex has struggled for many years with a high vacancy rate and a variety of image and acceptance problems, it is still considered an architecturally significant building with great relevance for the local design scene.

With its considerable size, which offers a total floor space of more than 14 hectares, the Pacific Design Center currently houses, in addition to countless office spaces, more than 70 design showrooms and presents more than 2,000 brands of the most diverse design directions, including the traditional British brands Farrow & Ball or George Smith, the design studio EuroConcept Kitchen, which presents quality brands such as Sub-Zero/Wolf or Miele, or the American Society of Interior Designers.

As early as 1975, the blue colossus, perceived by many as particularly disproportionate and quickly christened the »Blue Whale«, laid the ambitious foundation stone of the Pacific Design Center. With the »Green Building« in 1988 and the tapered modern office complex »Red Building« in 2012, the characteristic trio of buildings finally found its current form. The architecture of the PDC was always designed to combine minimalist aesthetics, form and function: Among other things, the primary-colored glass facades, which shine almost like gemstones in the characteristic Californian sunlight, are also intended to flood the spacious and openly designed interiors with sufficient light, create an appealing atmosphere and, in particular, also reduce energy consumption.

In any case, that use of glass, in combination with steel and concrete, still gives the complex an unmistakable industrial-minimalist touch, while in the interior, warm wood and marble elements have also been used in contrast to ensure a balanced, welcoming atmosphere. Between the three buildings, you’ll also find expansive courtyards designed as green oases lined with tall palm trees to offer peace and relaxation, and – like the myriad indoor event venues – serve as venues for a variety of cultural events.

Conceived as a hub for creativity and design, the enormous floor space and resulting occupancy problems over the years have also led to the arrival of many well-known companies outside the design industry as tenants, including outsourced laboratories of the nearby Cedars-Sinai Medical Center, the L.A. branch of international coworking space pioneer WeWork, and offices of the dating platform Grindr. The PDC also features two restaurants, a fitness center designed by renowned designer and architect Michael Graves, and expansive event spaces that have been used for high-profile film premieres, exhibitions, conferences, and even parties (including Elton John’s legendary Oscar afterparty).

The creative use of the available space for companies outside the design industry and the nevertheless constant occupancy problems are mainly due to the demand for (physical) exhibition facilities and spaces for design products, which has been drastically decreasing for many years, explains a spokesperson for the PDC. Critics from the local (design) community in West Hollywood, on the other hand, complain that the Pacific Design Center was designed to be disproportionately large for its purpose right from the start – and that it lacks harmony with the surrounding architectural identity of West Hollywood. Moreover, it no longer meets the requirements of a modern center for contemporary design – the atmosphere is more like that of an eighties shopping mall than that of a creative hub for design innovation, it is said. While it was once bustling with activity, one can currently walk through aisles of the center and not see or hear another person.

The PDC‘s exclusive by-appointment-only concept, which restricts access to interested parties, also seems a somewhat curious contrast to the open architecture, the self-proclaimed concept of the international creative hub, and the ubiquitous, literally open-minded spirit of the City of West Hollywood. Probably for this reason, the current operators of the design center have recognized that the identity and concept of the PDC must be redefined in order to meet the demands of the market on the one hand and to create a new relevance in the design scene of L.A. and beyond on the other. Courage to reflect and broaden horizons towards an inclusive, cosmopolitan center for diversity and creativity – in keeping with the original intent. [Red.]