Scout Willis's Eclectic Hollywood Home: A "Chapel of Love" Transformed

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Musician Scout Willis opens the doors to her distinctive Hollywood abode, a Normandy-style cottage built in the 1920s, which she has lovingly dubbed “the Chapel of Love.” Willis envisions her home as a place where people can gather, connect, and find inspiration, reflecting the communal and intimate atmosphere she cultivates in her life and art. Working with the renowned AD100 firm Commune Design, she has meticulously transformed this historic landmark into a vibrant and whimsical sanctuary that perfectly encapsulates her artistic vision and warm hospitality, while honoring the original character of the structure.

Willis's connection to the house was immediate, particularly drawn to its original groin-vaulted entryway with colored plaster. Recognizing the cottage's historical significance, she embraced the role of custodian for this unique piece of Los Angeles heritage. While significant structural alterations were not permitted due to its landmark status, Willis, alongside Roman Alonso of Commune Design, focused on enhancing the home's inherent charm and creating a space that felt authentically hers.

The collaborative process involved subtle yet impactful changes, such as stripping ceiling beams to expose original wood and refining windows to improve airflow. The kitchen and a former second bedroom, now a dressing room, underwent thoughtful renovations. Willis’s aim was to create a home that felt both sophisticated and playfully imaginative, a balance Commune Design skillfully helped her achieve. Alonso notes that Willis was deeply involved in every design decision, from tile selections to color palettes, resulting in a cohesive yet eclectic aesthetic that truly mirrors her individuality.

A key aspect of the home's transformation was the strategic use of color. The living room's vaulted ceiling was painted in Farrow & Ball’s soft pink ‘Peignoir,’ accentuating its unique architectural lines, while the stairs were coated in a rich, deep purple-brown ‘Brinjal.’ The kitchen, described by Willis as “very Big Sur,” showcases a brown-and-white checkerboard backsplash, green concrete counters, chartreuse linoleum floors, and Stickley-style cabinets. The dressing room, a “surrealist Marie Antoinette 1930s department-store closet,” was painted in a delicate pale pink.

Willis gave considerable thought to how guests would experience each area, particularly the outdoor spaces. The garden, a collaboration with AD100 firm Geoponika, is conceived as an extension of the indoor living area, designed to encourage interaction and connection. Features like a sunken conversation pit, outdoor dining area, and a brick daybed are strategically arranged to foster engagement. Her custom cocktail table, crafted from blue quartzite and cherrywood, exemplifies this multifunctional approach, serving as a dining surface, entertainment hub, and daytime workspace. These thoughtful design choices contribute to what Willis’s friend playfully terms “flirty architecture,” where every element promotes a sense of inviting intimacy.

Throughout the home, surreal and eclectic touches abound, from Michael Lombardo's trompe l’oeil clamshell painting above the sofa to a whimsical checkerboard teakettle. However, it is the garden, affectionately termed a “fantasy shire fairy garden,” that stands out as the most eccentric and delightful space. Filled with an array of unconventional plants like supersized Gunnera and cup-leaved Ligularia, alongside Kashmir cypress and native species, the grounds are further enhanced by boulders, flagstone, a Japanese-style bath, an integrated daybed, and a sunken living room. Carlos Morera of Geoponika describes the brick-clad conversation pit as offering “gnome vision,” providing a unique, intimate perspective of the garden. Willis's home is a testament to the power of design to create a deeply personal and inspiring environment, where historical charm meets contemporary whimsy, and every detail contributes to a sense of welcoming warmth and creative freedom.

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