棲居美學10 洛杉磯豪宅之旅 | 一座令人驚歎的歷史豪宅，蘊含著豐富的好萊塢歷史

Hello, Homeworthy. My name is David. Welcome to my home in L.A. Come on in. You're watching Homeworthy, where we believe every home has a story. If you're looking to make your own space more homeworthy, we've teamed up with Cherish, our go-to online destination for chic, one-of-a-kind finds, sourced from the world's most wonderful vendors. Mercury drops are from an artist I found on Cherish. Whether we're after a bold statement piece or the perfect finishing touch, Cherish has extraordinary items that leave a lasting impression. This table I bought on Cherish from Berlin, and it has a little bit of a, it's a tray, and it is mid-century, and it's one of my favorite pieces. It's where we find iconic looks to set homes apart. I think many dealers would agree that Cherish is the absolute best. So to support Homeworthy and discover amazing items from Cherish, scan the QR code or click on the link below to start shopping. So my name is David Alhadeff, and I'm the founder and owner of The Future Perfect. The Future Perfect is a design gallery. We have locations in New York, San Francisco, and here in L.A. And you're actually in our location, which doubles as my home here in Los Angeles. So we're standing in the home, which is the location of The Future Perfect. The house was built in 1913 by a local real estate developer, R.E. Fuller. And then it was purchased in 1916 by Samuel Goldwyn, who lived here from 1916 till 1925, which gave its affectionate nickname that we call it the Goldwyn House. I bought the house in March of 2022, and I bought it because it had such a beautiful history, and it was sited so beautifully. I loved the gardens. I loved the formality of the house. I thought there was something really special about this old layout, and yet it was in such perfect condition. So what we really did in our renovation was we aimed to really bring back some of the original character and features of the house. We undid, if you will, a couple of the previous renovations in an attempt to really give this house a historical feeling and flavor. This doubles as my house and also our gallery. We use the spaces quite fluidly. As I walk you through the home, you're going to see spaces that are set up very much like gallery exhibitions or installations. And you'll see rooms that function quite typically as a room. For example, behind me, we have our dining room. Or on the other side of me, which you'll see in a moment, we have our exhibition space where we're showing work from LGS Studio. We're constantly rotating our spaces, both these lived-in spaces and the exhibition spaces. Okay, this is the main foyer of the house. I really love this room. It's such an atypical thing now in contemporary design to have such a grand entranceway. For the staircase, we did this rug, which actually is the Future Perfect's design, which we created with Christopher Farr. I couldn't imagine a better and more exemplary creator of fine rugs. We have this table here, which I want you to get close and take a look. It has this beautiful mirrored finish. It's part of the Geo Series by Chen Chen and Kai Williams. And on it, we have one of John Hogan's water lenses. John Hogan is a Seattle-based glassblowing artist. His work is really fantastic. You'll see more of it as we go through the house. And then the ceramics in the space are all by Cody Hoyt. And Cody Hoyt is a Brooklyn-based ceramicist. His work is really special. He works with this technique that I don't know if any of you made Fimo bracelets back in grade school. But it's the same idea. He actually creates a pattern rolling clay and then cuts slices of it and applies it like a tile to the piece to create sort of these either very abstract or highly geometric or sometimes very figurative designs for his work. I also want to show you the lighting in the room. The lighting here is by Jason Koharik. This is part of the ontogeny collection, which he did exclusively for the Future Perfect. And we have the sconces here. And then we also have this amazing flush mount right over here. What I loved about this house was all of the layers and all of the history that was here in these beautiful moldings and plaster work that was preexisting to the space. The fireplace actually is a great example of work that we did or undid in the space. This beautiful batch elder tile was covered with like a gray garage style floor paint. I figured it was completely destroyed underneath it. So I had my contractor just kind of like scrape off a little bit just to see what was under it. And we revealed this absolutely beautiful like blue purpley beige color that actually became the palette for the entire house. You'll notice the blue that picked up in the rug on the stairs. And as we go through the house, you'll see the tone of the walls was picked up from this as well. Really everything. I worked with Camp Plaster who did their plaster everything technique for us. And they literally came in and just top to bottom completely created a unified presence for the space, which I think took all of the molding and made it feel quite modern. And I was really attracted to that idea for the space. Because again, as both home and gallery, I was looking for a way to create rooms that we could use fluidly to showcase our program and live in seamlessly. The fires that happened in January. Obviously, we all heard about them. And like a lot of news stories, you know, they go in and out of our consciousness based on the news cycle. But really the devastation of the fires, I think, is only just now starting to be understood. Especially by people who are living with homes lost. Being someone who almost lost our home. My sense of it is total gratitude. I'm someone who can really try to make drama out of nothing. I think it's just a piece of who I am. I'm a bit prone to drama. But with this, I couldn't attempt to take ownership of any of the drama of the fires personally. I know too many people who have lost their homes, lost their studios, lost their practices. And I think the idea of losing everything is something that no one wants to really confront. When I think a bit about objects and losing things, you know, obviously working with objects and working with a lot of very special pieces. For me, the thing that occurs to me is that it's not just the things that have monetary value that we prize within our spaces. But we prize those things that we have applied meaning to. So the objects of meaning, you know. The painting that perhaps is worthless monetarily, but that was done by an old relative who's deceased. You know, a special ring that was given to someone from someone in the family. Again, monetarily, maybe have very little value. But it holds a lot of emotional value. And those are the things that I sort of thought about a bit when confronted with evacuation orders. Since then, the Future Perfect has done and will continue to support efforts to raise funds for people who have lost everything. We've been supporting Grief and Hope, which is a fund that directly supports creatives. Specifically, creatives in our community who have lost their homes, their studios and their livelihood because of the fires. And then we have also supported our local fire station because they quite legitimately saved our house. I think the fire is something deeply personal. You know, it's very hard to empathize with the gravity of loss until you faced it. You know, like I have no idea what it would be like to lose my home, to lose the possessions in my home, to lose my whole life. You know, what I do know is what it felt like to get an evacuation call, which was really, really scary. Maybe the most scared that I've been in a very long time in a legitimate way. But I truly have no sense of what it could feel like to lose everything. We did an online auction to support Grief and Hope in our local fire station. And throughout the year, we're going to continue to program events to help to continue to support the community. If you want to get involved in any of that, you can reach out to us through the Future Perfect. In designing the home, when I think about fluidly living in the spaces, I have to forego a certain amount of comfort at times. Because, for example, as we go in the living room, you'll see. The living room is truly presented right now as a gallery. But in a month, we'll bring in an entire living room suite of furniture. And it will feel completely different. So because of the fluidity of the way that we change the house, it both constricts and expands the way that I can live in the house. OK, now let me take you in the living room. First, I want to show you this really cool thing that we found. So when we got to the house, this was actually a closet. And behind the closet, there was this old safe, which must have been the original safe for the house. And we turned it into this cool vignette to showcase sculpture, also by John Hogan. And then I put a little secret guy in there, just in case everybody ever opens it. I always figured it's nice if they can see my little... Nothing for sale in there, just more something that's like, oh, a little treat if you decide to open the safe. Here in the living room, we're presenting work from LGS Studio, a local duo of ceramicists and glass artists who have created all of this exceptionally beautiful work for us. LGS Studio is a ceramic studio in LA. It is a duo, Noel Hennessy and Thomas Renaud. And they work together to create this beautiful work. LGS has just started doing works in glass, which we're presenting here, I think, for the first time ever. The glass works are really an extension of the Mesozoic series of work, which Noel and Thomas started working on. We have this example here. And what this is, are their studies of paleobotany, which is studies of flora and fauna from the paleo era. Living with a two-year-old in a space like this does require a lot of very close attention, I have to say, especially with the way the space is right now. As I said, spaces are fluid. So this could be a really kid-friendly space for a period. But right now, it's definitely not. We definitely have spaces in the home that are private, if you will, and entirely suited to the family. As I said, we worked with Camp to do all the plaster in the house. And although the plaster is changing colors, because it does that depending on the light, it is all entirely the same color that you're seeing throughout the entire home. So building on the mesozoic series, Noel and Thomas started doing these works in glass, which I think more abstractly refer as well to that same flora fauna. These are exclusive to us, and I'm really, really excited about them. All of the moldings were original to the house as we found it, and I think we've come to realize that they were original, original to the house. That's what attracted me to the home, was it was in really good architectural condition for its age. It did need a little bit of cosmetic renovation, but that didn't seem too daunting given the aesthetic history that we sort of walked in on. Actually, this house had been on the market for like a year when I first saw it. I avoided it because I called it, quite unaffectionately with my realtor, the granny house, because everything was painted in this really bad way, and it just didn't really present or photograph very well. So he kept showing it to me as an option, and I kept coming back to him and saying, I don't want to see the granny house. But if we all remember 2022, it was almost impossible to find a house at that time. I mean, I think it still is. I think the market is still really, really tight. So eventually I got worn down, and my realtor took me here, and I walked in and immediately fell in love. I think maybe it's what they say, where the house that's meant for you is waiting for you, because it is shocking in March of 2022 that this had been sitting on the market for so long. When we started the gallery and residence concept, we came out to LA in 2017, and I think the reason why I did it looking back was I was really daunted, if you will, by the real estate, the commercial real estate market here in Los Angeles. And every time I'd come out to look at spaces, I couldn't figure out what neighborhood we should be in. I couldn't figure out the values of the neighborhoods. I couldn't understand what makes somebody stop their car and come into your store in Los Angeles. I mean, it is still a conundrum that I think I am challenged with. So what I thought to myself was, well, I really want to be more in LA. What if I take a house? I'll be able to spend more time in that house. I'll live in that house, and then we'll use it as our gallery space as well. And this dual purpose kind of occurred to me as a way to introduce the community here to our program and introduce me to Los Angeles. It turned out that it worked, so we've had, I think this is our fourth house. Our first house was a classic mid-century modern case study house in the West Hollywood Hills by David Hayun. Our second house was actually the Elvis Presley Estate in Truesdale, which was as amazing as it sounds. And then our third house, we returned to kind of architecture, if you will, with a home by Raul Garduno from the 1970s. It was totally different from that mid-century 50s house or that 60s Elvis Presley house. It was completely intact architectural masterpiece from the 70s. It had wall-to-wall carpet and popcorn ceilings. I mean, it was really, really cool. But for the house that we purchased and ultimately came to, the Goldwyn House, I wanted something that had a timelessness to it, a quality of history. I wanted grounds. I wanted a sense of space. I wanted to play more with the outside. I wanted to do more sculptural works that could be site-specific. And I'm so excited to show you some of those a little later. I want to show you this really cool thing. This also was covered in that same gray floor paint. It is an electric fireplace. I'm still looking for these light bulbs. So if anybody has a connection to these, please let me know. But check this out. You turn it on. And it actually gets really warm really quickly. So I think this was also probably not original, original to the house, but it was probably put in relatively shortly after the house was originally built. And I just think it's so cool. And again, like I said, if anybody has a connection to these light bulbs, please let me know as I have one missing. So we're standing here in what is the side entrance of the house. But unlike any other home that I've seen, the side entrance, which should be the informal entrance of the house is actually incredibly formal. And this really worked for the way that we live and work in the house as a gallery. So what I love was that you come into this incredibly formal hallway space. And then you have the living room gallery here to my left. And then to my right is this what I call the media room, although it doesn't have a TV in it right now. For this room, we found it. The wood was like a really shiny cherry color. It wasn't necessary. I knew the wood wasn't bad, but the tone was totally off. So we completely stripped it, brought it to this like walnut finish, hopefully a little more matte than it was originally. And then in the house, we're presenting work from Sarah Solis. She did the upholstery work you see here, these great chairs, this beautiful coffee table. We also have sculptural stools by Ian Collings. I love these pieces. The Future Perfect was started a little over 20 years ago. I had been working in the tech industry, and I loved it. But I wanted to do something that was more tangible, more concrete. And I had always loved interior design, architecture, objects, you know, furniture design. And I just thought I would feel good in that space, you know. And I found a space in Williamsburg, Brooklyn. And you got to take yourself back 20 years. I mean, there was really nothing there. And I thought this would be a really interesting space to work with this idea of the place where art and design kind of meet, you know. So I started working with functional objects that had an artful character to them. This was, again, 20 years ago. And the space, actually, my first Williamsburg original space is now the brand-new Hermes store that's opening up in Williamsburg, which is insane. The Future Perfect is really about the relationships, you know. I mean, there's so many amazing people doing work and creating work in this time that we live in. I think for us, it's about this small community of craftspeople, makers, artists and artisans that we have pulled together to be a part of our program, which really roots itself mostly in the fact that it's contemporary. I mean, first and foremost, that's probably the only through line in the entire program is that it's all contemporary because we have works in metal. We have works in stone. We have more traditional furniture. We have limited edition and one-of-a-kind pieces. It's a really eclectic program in terms of the vastness of it. But for me, the interest is about works that's contemporary. Now, I understand that historical design is very much a part of the way that people decorate their homes and live in their homes. And I, too, in my more private spaces also have some historical design as well. So I empathize with that feeling of wanting eclecticism or wanting to live with work from many different periods. What we see ourselves as is the preeminent source for incredible contemporary work. For me, the art is nothing without the artist or the artist is nothing without the art. You know, I think we are first attracted to the aesthetics. Like anyone, you know, you stop the scroll on the Instagram, you see something that's really inspiring, peeks your interest, it catches your eye. But if the person isn't somebody who we feel a connection to that we can't build a relationship with, then unfortunately sometimes we don't necessarily work with every artist whose work we love, if that makes any sense. The lighting in the room is by Anna Carlin. She is a New York-based designer and this is her sketch series. And I think it's aptly named. You can kind of understand this sort of like this pencil sketch in the air that's kind of drawn out with these beautiful illuminated shades. She also did the sconces on the wall back here. And she did the amazing light we have in the side entry right here. I think this piece is really, really special. I love it. You know, at first glance, it's just a simple kind of, you know, paper pendant, but actually on close examination, the asymmetry of it is really beautiful and the ceiling rose is really special. I also want to show you this bowl by Vikram Goyal who is an Indian-based artist and designer who we just started working with. We just launched his work at Design Miami this last year, Design Miami 2024 in Miami. And he works in sheet metal and then he's trapped these kind of semi-precious stones in the metal and it's just amazing work. His studio is fascinating. I could go on and on about his studio, but it's really... He's really an example of someone who I'm very fascinated. I think he creates a beautiful sort of exemplification of how we work with artists in our program because he's an artist who lives and works in India and he found this craft that had been... that was sort of becoming extinct, if you will. It was called repoussage, and it's the art of drawing in sheet metal. So basically you take sheets of metal and you put it on this wax plane. I mean, it's probably like the size of this room, you know, is the scale that we're talking about. So you put it into the wax. You heat up the metal. You push it into the wax. And then you begin pressing a drawing or a relief into the metal on the wax. And this was a dying art which he took and created a cottage industry for within his studio. And now I think he has like over 200 people who work on repoussage in his studio. So the work in this space, as I mentioned, is by Sarah Solis, who I think you guys might have even visited a couple weeks back here. And I just want to show you this chair is probably my favorite chair in the whole house. It is just so comfortable. It's just Sarah's work is so amazing because she's really capturing I think an aesthetic that feels somewhat historical, but at the same time is totally contemporary to me. I just love what she's doing. Living in a gallery might seem like a very daunting idea. It might seem overwhelming and a little like, you know, please do not touch being the way to live in a place, being uncomfortable. We live here with our 2-year-old son, and we're raising him in the space. It is at times a bit uncomfortable, but I'll say for those of you that love change and that love interior design and decoration, there's nothing more fun than having the flexibility to recreate spaces in the home like every 3, 6 months. I mean, we're constantly redoing things. So it really taps into this energy that I love, which is about change and about newness. So this is both a home and a gallery, which means that we live here, but also everything that we see is also for sale. First I want to tell you about doing the dining room. So I worked with Nicole Hollis, who's a really great client and also a good close personal friend of mine on this room. Working with Nicole was really a treat, and although I had to battle my demons to be able to do this and to relinquish control, because that's really the hard part, right, is like giving up control and letting someone else create and execute their vision in our space. But working with Nicole was an absolute treat, and now I would say this is my absolute favorite room in the house. So I want to take you guys in here and show you what we've done. Nicole worked with a number of different artists from our roster to create this room. The chandelier is by Chris Wolsten. The dining table is entirely in ceramic. It's solid ceramic, and it's by Floris Wubben. The glaze that he created is actually a special glaze that was done for a new series that he's doing, which is these larger scale furniture pieces. It's pretty incredible to make work at this scale in ceramic, and Floris has actually increased his studio capabilities so he can create single pieces of furniture that I think are like 98 inches by 40-ish inches by about 30 inches tall, which is really unbelievable. You'll see under the base on the table is also just amazing. It's just so beautiful. The chairs are by Niloufar's Open Editions. The rug is by Balmeseda, and the console is stoned by Arthur Valen. Probably the most difficult thing that we had to contend with with this space was the wall finish. The walls were previously wallpapered, and it was quite light. It was airy. It was sitting more comfortably with the rest of the house, and this is probably the place that I also had to confront my demons the most as well was Nicole presented an idea was she wanted the room to be quite dark, and I loved the idea, but coming up with exactly the right finish and the right tone was the most challenging part of the project. So I worked very closely with Amy from Camp Studios, and we actually, I literally took Amy back to her studio at like 6 p.m. on a Friday night and was like, Amy, let's go custom mix some colors, and she and I, we drove back there, and she was just such a treat to work with, and she just sat with me, and for like, I feel like it was like one or two hours, and we didn't leave her studio until about 8 o'clock at night on a Friday, and we left with like four or five custom samples that we had created, and we sent them off to Nicole, and Nicole selected this one for the room, which I think turned out amazing. We call it, I think it was called Metallic Bronze Plaster. I think it does conjure sort of a period of painterliness, but there's also something raw about it and kind of craft punk. You know, if you look really closely, some of the trowel marks are left intentionally in the walls, which I think is really amazing, because it takes something that could have been a bit fussy. I think that's the best part about it is that messing it up actually creates this quality that feels super modern, so that it's not overly fussy, and there's something really special about it, you know. The handmade-ness is apparent in the detail and the quality of the work. I think that natural light is just one of the key features or characteristics about L.A. living,you know. I mean, living without natural light in L.A. feels like a sin, so of course, for me, having big windows and a lot of light was really, really important. There's two things that you can look for in real estate that have value in L.A. One is a view, and the second is privacy, and this house doesn't really have a view, but it does have privacy, and it's so special to have this much grounds and this much land and be so private. My style wasn't necessarily trained educationally for me. You know, I've always felt like a fraud in this business. I think those of us who are self-taught kind of carry that weight or that burden of feeling a bit like a fraud in our careers, but for me, it's like 20 years later, I finally recognized, well, I probably do know a thing or two about a thing or two with my business just given the time that I've spent with it, you know, but I wasn't formally trained, and I kind of came to it very naturally from just liking what I like, you know, people say I had a good eye growing up, but I never really knew what that meant. It was very natural for me, though, to have an affinity towards something that was special, and I feel like that's part of what I love doing even today is finding something that feels really, really special from a talent that isn't necessarily well recognized yet, and the sculptures on the table are by John Hogan, whose work we've seen in a couple of the other spaces, but he did these especially for this room with the intention that they would be viewed in a room that's dark, which I think is very effective. OK, so I mentioned a little earlier that one of the reasons why I wanted to buy a house, and this house in particular was I wanted the opportunity to work with artists to create site-specific works for the house. So the first thing we did was we worked with artist Chris Wolsten, and he did the powder room for us, which I want to show you. It's a tight space, so I'm going to let you guys go in there without me. But Chris created this beautiful sink for us, the chandelier, the sconces, and he even created the toilet paper holder. OK, let me take you outside, and I'll show you the gardens. OK, welcome outside. This is my favorite part of the house. When we got here, it wasn't bad. The structure was all good, but I worked with an amazing landscape artist, Art Luna, who helped us to completely rethink all of the plantings. So basically, anything that isn't over 10 feet tall, we did. And what I learned from Art was that to create an established garden new, you have to buy material that is established. So everything that you see, we actually put in, and it's my favorite part of the house. It also creates a perfect backdrop for us to showcase some of our work in this context as well. You have the loungers by Shore Studio, some ceramic stools by Flora Swobin. OK, I want to take you guys to the shade garden. It has one of my favorite things in the whole house. I think there's a lot of my favorite things in the whole house, I have to say. I keep saying that, but it's true. This place is truly a playground for things I love the most. So we worked with the French ceramic artist, Olivia Kanye, and she created for us this site-specific work of art where she transformed the outdoor fire pit into truly a piece of art. I love hanging out here. I love, like my office is right there, and I literally come outside, light the fire, take phone calls. It's incredible. You know, we were, in fact, Art Luna, he helped a little bit with this. He said, you know, he wanted the fire to feel a bit like it was lava, you know, flowing over into the garden and that these little lily pads would create this idea of flow, you know, or like embers, you know, which is super amazing, but I think that this is one of, at least of the outside. This is my favorite part of the outside, and it's the place I hang out the most. I love the dining room because it's about, it's about community, it's about family, it's about eating, it's about breaking bread, you know, it's about sharing time with people, and this space, I think, is fire, so it's kind of the same idea. It's the hearth of the outside, which is really beautiful. I'm not a plant, I can say I'm not a plant expert, but when I go to nurseries and visit nurseries, I can be attracted to things just like I am in every other part of my life, and I became fascinated with these, which I don't know the name of, and those of you that are plant aficionados will, will know much better than me, so I won't attempt to, you know, to put myself out there for correction, but I just love it. They're a form of fern, you know, staghorn fern, and I think they're really special, so basically they have a single leaf, and the one leaf kind of grows. I think there might be a better example of it over here. Yeah, like this one is just starting, and the one leaf starts here, and then it becomes, it like, it like twists and forms the entirety of the structure, so right now this leaf is growing. You can kind of see covering the brown part of this plant here. Let me take you up to the sculpture garden. I can show you this project we did with Dan John Anderson. We had these trees. They were super giants. They were like over 100 years old, probably built before the house was even built, or probably planted before the house was even built, and they were back here and here where we currently have these beautiful thrones. What happened is these giant trees started dropping really big branches, like not just little bits, but huge parts of the tree started falling, and we had an arborist in and they told us the tree was dying. It was sick, so it was, I took it as a big decision to cut something down that was twice as old as me. We made the decision to fell the trees, and instead of completely removing them, I kept about, I don't know, 8 or 10 feet of the tree in place, and I asked Dan John Anderson, who's an artist that we work with, to carve them, and I told him he had totally carte blanche. He could do anything he wanted, but they had to be seats so that we could experience the sculpture garden from them. I think he did a really magical job of transforming the base of the tree into this amazing chair. I've never actually sat in it. These are super new. They're amazing. I just, I feel like, you know, it's that thing with me where I feel like I can't sit in the thing that I live with, even though it's site-specific to the house, but I prefer to look at it than to sit in it, and he did two different versions. So he spent probably about, I feel like he came out for about 4 or 5 sessions, and each session he spent 3 or 4 days here, carving and then finishing the pieces. He burned them, which was really, really cool to watch. It was controlled. So here in the sculpture garden, when we moved in, this was actually, there was like a big, old kind of fiberglass, fancy fountain, and there was a bunch of other like smaller bushes and trees in here, but we cleared it all, and then Art recommended that we put in these platforms or stages, if you will, which we built in boxwood, which helped to create a sense of space in the garden. This table is by Olivia Kanye. She did the fireplace. She also does furniture, objects and sculptures. She does these beautiful wall murals as well. And then I'll take you guys to the pool. I love a diving board. Who doesn't love a diving board? It's so old school and super scary, but also kind of amazing. I'd jump in for you, but the pool's not heated. I would take you guys in the pool house, but right now we're in between. As I said, the spaces in the house are fluid and we're always working on them, so we're getting ready for an installation we're doing with MJ Kim And her show will open end of April. Okay, let me show you upstairs. Yeah, the upstairs is still very much like the rest of the house. It's fluid. It's gallery spaces along with a couple spaces that are totally private. The first thing I want to show you is the chandelier that we hung here in the foyer by Carl Zahn. You can book an appointment if you want to visit the house on our website. It's www.thefutureperfect.com And you can book your appointment and come by. One of the things that's surprising, I think, for a lot of people is that although what we do is very special, the range of prices in the home is really quite vast. So yeah, come on by. Check it out. And if you want to buy something, you just let us know. So we're here in the upper hallway, and I wanted to stop here for a sec because I wanted to show you these sconces which are by Chen Chen and Kai Williams. They're called the Stone Roses. I love that name. It makes perfect sense because they are made of stone and they are flowers. But what I love the most about this work is the honesty and the welds that they've left here. They're perfectly done, but they didn't finish them back to the brass. They left them, and I think that's really indicative of their process and how they work, and the way that that just reveals itself is really appealing to me. Let me take you right in here. Ben Willett is new to our program. He is a designer who lives and works here in Los Angeles, and all of the work in this room is by him. I think Ben Willett has a really distinctive style that comes through in all of his work, whether it's this kind of amazing amorphously shaped lacquered coffee table or this really cool suite of dining tables and chairs where the chairs kind of tuck in so perfectly, but the chairs are also just so beautiful. I think the work is really special that he does. So this is the real guest bedroom. This is another one of those fluid spaces. This is the space that my mom stays, my mother-in-law stays, but our favorite house guest by far is our son's godfather, Colin King, because nobody knows how to put the room back together again quite the same way as Colin. If you ever want to come and stay at the Goldwyn House, the rules are as follows. No, I'm just kidding. There are no rules. We will always take care of the house and put it back together again. You can always just stay here like it's yours and make it really easy. Thanks for watching. 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