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Villain Arjen Rudd’s modern, canyon-top lair was an integral part of the Lethal Weapon 2 screenplay from the very beginning. Its role only grew larger as the more downbeat first draft of Shane Black’s script (Gibson’s Riggs was originally fated to die at the end) was revised by Black’s successor, Jeffrey Boam. The challenge was finding an existing Los Angeles–area structure that matched the one imagined on the page. John Lautner, the American mid-century modern master who apprenticed under Frank Lloyd Wright in the 1930s, designed Garcia House in 1962 for jazz arranger Russell Garcia. It still sits high atop the Hollywood Hills at 7436 Mulholland Drive. With its unique almond eye shape topped by a curved, parabolic roof and supported by steel stilts sixty feet above the canyon below, the house is also known as the Rainbow House, after the colorful stained-glass panels that dot its facade.

A sense of warmth envelops the bedroom filled with muted and neutral colour palette of browns and greens. Walnut stained wardrobe, pearl painted walls and textured bedding cocoon's the Parents' bedroom.

Oak veneer storage with recessed handles contributes to the minimal aesthetic. A pair of blackbird sculptures sit atop the unit while the greens liven up the space.

Dining nook, homeowner's favorite spot to unwind and foster conversations while sitting comfortably in custom dining chairs with an offbeat arm rest that complement the terrazzo-topped dining table. An electric blue crockery cabinet adds an element of surprise

Embracing the “Less is more” ethos, the living room is clutter-free and minimal. A nested coffee table accompanies a custom, mushroom-toned sectional sofa. A jute rug, a fabric floor lamp and some art prints add dynamics to the space.

The home's sloping roofline guides the eye towards the outdoor living area. In the living room, occupants can relax in the Eames lounge.

The living area boasts nearly 10-foot-high ceilings that impart a feeling of airiness and spaciousness. Discreet, built-in storage in the floor at the top of the steps prevents clutter from accumulating.

A planter is integrated under the open staircase leading to the upper floor, and a skylight in the roof illuminates the stairwell.

The Kelleys furnished the cottage with help from Suzanne’s daughter Betsy Burbank of Betsy Burbank Interiors. Classic modernist icons, such as a Saarinen Womb chair for Knoll, a Herman Miller Eames lounge chair, and an Eileen Grey E1027 side table look at home alongside present-day pieces such as an Encore sofa (which handily folds down into a sleeping surface) from Room & Board and a Doka rug designed and produced by Stephanie Odegard. The Wohlert pendant lights from Louis Poulsen were designed by Vilhelm Wohlert in 1959, but grouped as such, they appear distinctly contemporary.

The ever-changing daylight, plus the use of curtains and lighting options, means that Ahlgren and Lökaas enjoy a variety of different atmospheres.

Rather than opting for the schematic, open-plan design of the renovated Queensland worker's cottage, the formalized living, sitting, and dining areas are compartmentalized; each room is dedicated to their function.

Beds are lofted above the kitchenette and large bench, and are accessible by wooden ladders.

The living room takes full advantage of the homes' stunning views.

"Blue and white tones came up very often during our conversations, and the fact that the property was sitting right on the ocean made it feel like a good fit for their vision," adds Audrito.