In the living room, an oil on canvas, Standing on the Green, by Algerian painter Driss Ouadahi, presides over a streamlined, linear arrangement of furnishings including a Serge Mouille lamp and a sofa by Antonio Citterio for Maxalto.
Vik Muniz’s Sandcastle hangs above Rancho San Pedro, a book of 14 aerial photographs by Michael Light.
Commanding a corner of the gallery, Roni Horn’s aluminum sculpture When Dickinson Shut Her Eyes #912 incorporates the writing of the 19th-century poet.
In the hallway alongside the staircase, Las Meninas, a massive silk-screened diptych created by the collective known as Bruce High Quality Foundation, reproduces the 17th-century work by Diego Velázquez.
In the living room, an oil on linen composition, And The Last Shall Be First, by Sonoma painter Chester Arnold, hangs above Documents #1, an assemblage with a DVD component by Michal Rovner.
In the main entry, architect Dan Phipps installed a flexible LED lighting system to highlight several large-scale works. At the top of the stairs is House of Spirits, an assemblage of wood and glass bottles by Berkeley artist Mildred Howard; at bottom right is 1999, an oil on linen by Chester Arnold.
In the front gallery, Small Saints, a work in six panels by Bill Viola, is stationed about a midcentury Edward Wormley table.
A set of eight of Frank Gehry’s Wiggle stools serve as a viewing platform for new media works. Culte, a two-channel sound and video projection by Rob Carter, is pictured.
In the upstairs hallway, natural light from an adjacent window backlights the mounted Plexiglas of Jean-Marc Bustamante’s Lumière.
In the master bedroom, windows to the right of Gyoki, a toned silver gelatin print created by Mike and Doug Starn, frame a view of the Golden Gate Bridge.
In the upstairs hallway is Nam June Paik’s assemblage, Enlightenment Compressed.
