Interior designer Harrison Soll and vintage gallery owner Rodney Burns have transformed a 1925 Craftsman home in Laurel Canyon into a shared space that balances their distinct aesthetic identities.
The couple met in the fall, and by New Year’s, their relationship was established, according to reporting by Architectural Digest. Soll, who was previously focused entirely on his professional work, credits a shared “throughline with design” for their initial connection.
Their home, spanning nearly 1,400 square feet, serves as a canvas for this blend, featuring pieces from Burns’s eclectic collection of vintage art, furniture, and sculpture alongside Soll’s modern, minimalist approach.
The process of decorating the home was not without its friction. As Burns explained to Architectural Digest, the couple navigated significant disagreements, most notably regarding a large Sergio Bustamante giraffe bust in the foyer. While Burns valued the piece for its rarity and scale, Soll expressed concern that the sculpture’s placement was “treacherous” because it obstructed the path of the front door.
Their stylistic differences extend to the living room, where they house two contrasting sofas: a Joseph D’Urso for Knoll piece reupholstered in leopard fabric and a leather De Sede Terrazza.
Yahoo reported that the living room features a manipulated canvas garment bag by the artist Roosevelt “Rip” Woods, who is noted as the first Black artist to have a solo show at the Phoenix Art Museum. The couple’s attempt to reconcile these choices—Soll’s minimalism and Burns’s self-described maximalism—required ongoing negotiation, including “many dinners of conversations” regarding the installation of doe-patterned wall-to-wall carpeting.
For individuals working within the constraints of a rental property, the couple’s experience highlights the limitations and creative compromises inherent in non-owned spaces. Soll secured permission to retile a bathroom and install a new vanity, while the living room carpeting was an “ask for forgiveness” move that their landladies ultimately approved.
Lenny Kravitz, who has worked with Burns as a stylist and creative collaborator for 15 years, noted the effectiveness of their partnership. “The mix of Rodney’s early- to midcentury style mixed with ethnic expression next to Harrison’s bold minimalist modern approach seamlessly blend together,” Kravitz told Architectural Digest.
The home’s interior continues to evolve as the couple decides which pieces to integrate from Burns’s extensive collection.
Yahoo reported that the foyer’s collection of masks was initially a point of contention; while Burns considered putting them in storage or sending them to his boutique, Church, Soll insisted on incorporating them throughout the home. This dynamic, where the two push each other to refine their environments, remains central to their living arrangement.
Soll acknowledges the influence this partnership has had on his own outlook, noting that Burns has helped him “take a pause” in his professional and personal pace. The couple’s home serves as a functional test case for how divergent aesthetic values can coexist through compromise and shared history, rather than rigid adherence to a single style.
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