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A Hollywood Estate Is Brought Back to Life

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When David Alhadeff first stepped into the palatial, light-filled interior of his new home in the heart of Hollywood, he knew he’d found the site of the next chapter for both his design gallery, the Future Perfect, and his young family. “We’re always interested in architecturally significant homes,” Alhadeff says, “but it’s less about the architecture and more about the way a house feels.” Though it was established in New York City in 2003, the Future Perfect has since 2017 shown work by its roster of designers and makers in residential environments in New York, San Francisco, and Los Angeles. Now, for the first time, Alhadeff is using one of the gallery’s spaces as a full-time residence for his family of three.

In the foyer, the Oro table and chair are by Chris Wolston. Sculptures by Leena Similu; sconces by Karl Zahn.
Rich Stapleton

Completed in 1916 by a pair of architect brothers-about-town, Arthur and Alfred Heineman, and built by R.E. Fuller, a prominent developer in early Hollywood, the Goldwyn House is a prime example of the studied interplay between the historic and the contemporary. It earned its nickname in 1925, when Samuel Goldwyn of Paramount and Goldwyn Pictures—what would eventually become MGM—moved in with his second wife. “We worked hard to make it look like we didn’t do any work at all,” Alhadeff says. “We stripped it back, found the original elements, and brought those back to life.”

white kitchen with dark patterned rug on the floor and a marble black veined counter and a dark modern painting over the doorway

In the kitchen, the drawer pulls are by Lisa Eisner. Tuareg mat rug; ceramics (on wall) by Makoto Kagoshima.
Rich Stapleton

The Future Perfect team, led by gallery director Laura Young, worked with bicoastal firm Kamp Studios on custom plasterwork throughout, while Art Luna Studio relandscaped the grounds, bringing them back to their original Old Hollywood splendor. The first and second floors will serve as the viewing spaces; guests are greeted in the foyer by Dimoremilano’s sculptural lamp abutting the vaulted, light-filled dining room. (“I will be hosting Thanksgiving this year,” Alhadeff says.) The old screening room where Goldwyn presented his feature films is now the modernized library, a jewel-toned midcentury lounge swathed in velvet and crowned by a handwoven rattan chandelier by artist Chris Wolston.

“I will be hosting Thanksgiving this year,” Alhadeff says

The renovation leans unexpectedly classic, with seven bedrooms, six-and-a-half bathrooms, that dining room with a butler’s pantry, a solarium, a breakfast nook, a sleeping patio, a poolside guesthouse, and an outdoor living room, not to mention those tenderly manicured gardens—“traditional bones,” as Alhadeff calls them. “This house really surprised us,” Young says, “We typically fight against this type of layout. Here, we’ve embraced it.” The integration of exhibition space in harmony with the architectural elements of the home echoes the Future Perfect’s vision for our hybrid times: a blend of work and home life. “Design is what connects the dots,” Young says.

Tour The Goldwyn House as reimagined by The Future Perfect

palatial white building with a red terracotta walkway and landscaping on the sides

And circling back to that growing family. The home will serve not only as the Future Perfect’s headquarters in Los Angeles but as the primary residence for Alhadeff and his husband, Jason Duzansky, and their newly adopted son, Leo. Having a design gallery in a private home may have seemed quirky prepandemic, but the past two years have given Alhadeff and his team the time and space to realize their unique vision on their own terms. “We’re taking a magnifying glass to this idea of ‘work from home,’ ” Alhadeff says. “You know what they say—‘It takes a village’—and this kid is gonna have a village.”

primary bedroom with medium chocolate painted walls and a plaid rug in neutral tones and a slatted rocking chair next to the bed with complementary coverlet in brown on the bed

In the primary -bedroom, the bed is by Philippe Malouin, and the rocking chair is by Luigi Crassevig. Pendant, Post Company for Roll & Hill; rug, Stark; photograph by Steven Meisel. The wall color is custom.
Rich Stapleton

The Goldwyn House, as the team affectionately calls it (the sun has set on “Casa Perfect,” the moniker formerly ascribed to the gallery’s hybrid spaces in both L.A. and New York City), now exists seamlessly as a gathering place for the design-minded public and a private residence for Alhadeff and his brood. This is a feat that may be possible only in a city like Los Angeles, a place that is constantly reinventing itself yet retains a footing in its own storied past. “This is round one for the Goldwyn House,” says Alhadeff. “We’re only just beginning.” 

october 2022 cover elle decor

This story originally appeared in the October 2022 issue of ELLE DECOR. SUBSCRIBE

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