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Collection by Akanksha Vishwakarma

Guest room

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A mustardy couch and a large map of the world—Whitlock travels all over the place for work—keep the living room bright and cheerful.
A mustardy couch and a large map of the world—Whitlock travels all over the place for work—keep the living room bright and cheerful.
Finlayson's studio is filled with daylight and past work, which she refers to while painting.
Finlayson's studio is filled with daylight and past work, which she refers to while painting.
An ample sill made of English elm was built into two front windows to create a gathering spot that is visually connected to the street. Donna Wilson’s lively Ernest pouf in coral Nos Da upholstery for SCP adds extra seating in the living room.
An ample sill made of English elm was built into two front windows to create a gathering spot that is visually connected to the street. Donna Wilson’s lively Ernest pouf in coral Nos Da upholstery for SCP adds extra seating in the living room.
The play of shadows is created by the two different wall systems: the interior framework, which is made from salvaged wood, and the new reclaimed redwood exterior.
The play of shadows is created by the two different wall systems: the interior framework, which is made from salvaged wood, and the new reclaimed redwood exterior.
“As you can see, I’ve never been a minimalist,” says Nunnerley. She compares designing to being a jazz musician, working with the basics and then improvising. “We talk about riffs in jazz, and how those riffs appear in design, how you go up and down the scale, and make interesting juxtapositions.” Pieces that might appear miscellaneous elsewhere create harmony here. The area around the fireplace includes a huge Senufo guardian bird sculpture from the Ivory Coast, a pair of 1930s Italian Osvaldo Borsani armchairs, and a curved, low table in eggshell-and-lacquer from the 1970s.
“As you can see, I’ve never been a minimalist,” says Nunnerley. She compares designing to being a jazz musician, working with the basics and then improvising. “We talk about riffs in jazz, and how those riffs appear in design, how you go up and down the scale, and make interesting juxtapositions.” Pieces that might appear miscellaneous elsewhere create harmony here. The area around the fireplace includes a huge Senufo guardian bird sculpture from the Ivory Coast, a pair of 1930s Italian Osvaldo Borsani armchairs, and a curved, low table in eggshell-and-lacquer from the 1970s.
While she was pregnant and on maternity leave, Susanna tackled creative D.I.Y. projects to decorate Varpu's room, including stitching these festive cotton flag banners.
While she was pregnant and on maternity leave, Susanna tackled creative D.I.Y. projects to decorate Varpu's room, including stitching these festive cotton flag banners.
The stars of the living room are a pair of pink Bird chairs by Harry Bertoia for Knoll. Both the marble-topped occasional table and the wood table are vintage, the antique rugs are from Morocco, a Low Pad chair by Jasper Morrison for Cappellini sits near the fireplace, and the brass-and-steel coffee table was designed by Poorter and Holdrinet.
The stars of the living room are a pair of pink Bird chairs by Harry Bertoia for Knoll. Both the marble-topped occasional table and the wood table are vintage, the antique rugs are from Morocco, a Low Pad chair by Jasper Morrison for Cappellini sits near the fireplace, and the brass-and-steel coffee table was designed by Poorter and Holdrinet.
In the living room, Hansen’s convertible Night couch and coffee table join a Black Marble rug by Suki Cheema and Slovenian Bear from Charles Fréger’s Wilder Mann series.
In the living room, Hansen’s convertible Night couch and coffee table join a Black Marble rug by Suki Cheema and Slovenian Bear from Charles Fréger’s Wilder Mann series.
“Early in his career, Gehry was able to experiment with his own home—deconstructing rooms and functions into the shapes of the actual residence—and explore materials which are non-traditional,” says Christy MacLear, Executive Director of the Robert Rauschenberg Foundation. “The Winton Guest House happens in ’87, and is the step between his own home and his commission at the University of Minnesota in ’90 where he moves his deconstructionist style toward what we see in ’97 in Bilbao.”
“Early in his career, Gehry was able to experiment with his own home—deconstructing rooms and functions into the shapes of the actual residence—and explore materials which are non-traditional,” says Christy MacLear, Executive Director of the Robert Rauschenberg Foundation. “The Winton Guest House happens in ’87, and is the step between his own home and his commission at the University of Minnesota in ’90 where he moves his deconstructionist style toward what we see in ’97 in Bilbao.”
Gehry’s first project outside of California, the 2,300-square-foot guest house represented more than a geographic transition. According to Young, this home was a key moment for the evolution of Gehry’s style. At a time when Philip Johnson was designing that AT&T building and quintessential postmodern structures were being built, Gehry was “breaking apart the understanding of a building. That’s what postmodernists do, but not the way Gehry does. He was doing something completely different. With Winton, he breaks apart the building, but hasn’t cladded it in the same material. It’s a really pivotal moment of breaking apart the structure into these shapes.”
Gehry’s first project outside of California, the 2,300-square-foot guest house represented more than a geographic transition. According to Young, this home was a key moment for the evolution of Gehry’s style. At a time when Philip Johnson was designing that AT&T building and quintessential postmodern structures were being built, Gehry was “breaking apart the understanding of a building. That’s what postmodernists do, but not the way Gehry does. He was doing something completely different. With Winton, he breaks apart the building, but hasn’t cladded it in the same material. It’s a really pivotal moment of breaking apart the structure into these shapes.”
In the living room, the architects painted the limestone fireplace a dark shade of blue-green. The walnut coffee table is by Noguchi for Herman Miller. The Barcelona chair is by Mies van der Rohe.
In the living room, the architects painted the limestone fireplace a dark shade of blue-green. The walnut coffee table is by Noguchi for Herman Miller. The Barcelona chair is by Mies van der Rohe.
The Wintons commissioned Gehry after reading about his work in The New York Times in 1982. It was the pick of a client with premonition, and as the final structure indicates, an open mind. The architect was asked to create a space for the Wintons' visiting family—five kids and plenty of grandchildren necessitated the extra room—and complement the main home, a brick Philip Johnson “donut” on a 12-acre plot on the shores of Lake Minnetonka. But Gehry followed his own muse, and often talked about the home he created as pure sculpture, according to Victoria Young, the Professor of Modern Architectural History at St. Thomas University and Coordinator of Frank Gehry’s Winton Guest House. “Even the original models have all these disparate shapes,” she says. “The first model he presented to them had a log cabin, referencing the fact that the Wintons' fortune came from Canadian lumber." Since it was a guest house, Gehry felt free to experiment. "You can explore things in a way you can’t in a place people live in all the time.”
The Wintons commissioned Gehry after reading about his work in The New York Times in 1982. It was the pick of a client with premonition, and as the final structure indicates, an open mind. The architect was asked to create a space for the Wintons' visiting family—five kids and plenty of grandchildren necessitated the extra room—and complement the main home, a brick Philip Johnson “donut” on a 12-acre plot on the shores of Lake Minnetonka. But Gehry followed his own muse, and often talked about the home he created as pure sculpture, according to Victoria Young, the Professor of Modern Architectural History at St. Thomas University and Coordinator of Frank Gehry’s Winton Guest House. “Even the original models have all these disparate shapes,” she says. “The first model he presented to them had a log cabin, referencing the fact that the Wintons' fortune came from Canadian lumber." Since it was a guest house, Gehry felt free to experiment. "You can explore things in a way you can’t in a place people live in all the time.”
A mature avocado tree shades the hardscaped patio located just outside the great room.
A mature avocado tree shades the hardscaped patio located just outside the great room.
The couple’s ten-year-old twins have connecting rooms next to a play space furnished with Aalto stools, a table from Artek, and a Nanna Ditzel rattan hanging chair purchased at Interstudio.
The couple’s ten-year-old twins have connecting rooms next to a play space furnished with Aalto stools, a table from Artek, and a Nanna Ditzel rattan hanging chair purchased at Interstudio.
An LC4 lounge by Le Corbusier for Cassina keeps company with a trio of large planters and a surfboard in the space between the kitchen and the dining room.
An LC4 lounge by Le Corbusier for Cassina keeps company with a trio of large planters and a surfboard in the space between the kitchen and the dining room.
Remodeled by resident and interior decorator Jill McCoy and her husband David Hassall with the help of architect Paul Molina, the open-plan living space opens to a small outdoor area. French doors and a wall of windows bring in light. An Eames lounge chair and a Noguchi table add a modern sensibility.
Remodeled by resident and interior decorator Jill McCoy and her husband David Hassall with the help of architect Paul Molina, the open-plan living space opens to a small outdoor area. French doors and a wall of windows bring in light. An Eames lounge chair and a Noguchi table add a modern sensibility.
The 760sf flex space is large enough for guests and creative endeavors.
The 760sf flex space is large enough for guests and creative endeavors.
In Marquina and Font’s living room, a pair of kilim-covered chairs by Philippe Xerri, a chest of drawers by Piet Hein Eek, and a handmade Tunisian rug provide bursts of color amidst the overall scheme of white, ecru, and cream.
In Marquina and Font’s living room, a pair of kilim-covered chairs by Philippe Xerri, a chest of drawers by Piet Hein Eek, and a handmade Tunisian rug provide bursts of color amidst the overall scheme of white, ecru, and cream.

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