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A 1966 Palm Springs residence now stages two kinds of fantasy at once. In the main house, Los Angeles designer Jessica Ayromloo uses mirrors, polished metal, sculptural curves and silver surfaces to suggest the cinematic world of Barbarella. In the separate pool house, pink, aqua and transparent furniture create the toy-scale cheer associated with Polly Pocket. The contrast is deliberate: one palette amplifies the architecture’s drama, while the other turns a poolside outbuilding into a playful, life-size miniature world.
Wallpaper*’s September 28, 2026 feature identifies the property as 650 E Tachevah Drive in Palm Springs’ Movie Colony neighborhood. The feature reports a 1966 completion by architectural designer Howard Lapham, 9,445 square feet and 12 bedrooms. Those measurements and the design details below are attributed to that published tour.
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Ayromloo’s assignment was not to erase the house’s history. She was asked to re-envision an expansive residence while retaining its original aesthetic and bones. That distinction explains why the result feels theatrical without becoming a period replica. The architecture supplies the mid-century framework; furnishings, finishes and color provide the new narrative.
The Barbarella reference belongs primarily to the main residence. Reflective finishes, metallic surfaces, rounded furniture, textured walls and a metal-clad fireplace give the rooms a futuristic, cinematic language. The Polly Pocket comparison is more specific: it describes the detached pool house, where bright pink and aqua meet transparent furnishings beside the water.
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Ayromloo told Wallpaper*: “I sometimes think of myself as more of a set designer than an interior designer.” That approach is visible in the way every room establishes a scene, rather than simply receiving a collection of attractive objects.
The 60-foot living room is planned as a sequence of conversations
The main living room is approximately 60 feet long. A room of that scale can easily become a corridor of furniture or an empty hall around a single seating group. Ayromloo instead divided it into smaller conversational zones. “They’re enormous,” she said of the dimensions, adding, “If you’re hosting a party, you want it to be conversational.”
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A custom rug runs through much of the room and visually links the zones. Amorphous, shiny coffee tables interrupt the rug with irregular silhouettes, while a metal-paneled fireplace and a reflective wall add the hard, luminous surfaces associated with the film reference. The result is not a literal science-fiction set; it is a controlled conversation between the house’s length and the furniture’s curves.
Where the Barbarella language appears throughout the house
Dining room: mirrored movement and patterned texture
The dining room continues the reflective vocabulary but changes its rhythm. A glass-topped table keeps the center visually light. Chairs with mirrored legs echo the table’s transparency, while a patterned Kyle Bunting rug gives the floor a tactile counterpoint.
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Above, a Slinky-like pendant introduces a loose spiral rather than a rigid geometric fixture. Paco Rabanne’s mirrored-mosaic Space Curtain adds another layer of movement, catching and breaking light as people pass. Together, the elements make the dining room feel animated without relying on bright paint.
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Kitchen: circulation first, color by negotiation
The kitchen was spatially reorganized before its finishes were selected. Appliance positions were moved to improve circulation, and a long island was added to give the room a stronger working and social center. The stove sits beneath a hood covered in cut-glass mosaic tile, turning a practical extraction surface into a faceted focal point.
Ice-cream-parlor-like stools soften the island’s length and make it usable for informal meals. Cabinet color was a negotiated decision: the client wanted a very faded green, while Ayromloo preferred a darker green. They settled on desaturated pistachio, a restrained shade that connects the kitchen to Palm Springs’ landscape without competing with the metallic details elsewhere.
Guest rooms and family room: pattern shifts the energy
Guest rooms use Flavor Paper wallpaper and silver geometric patterns to extend the house’s graphic language. Patent-leather bed frames and metallic linens add sheen at a more intimate scale than the living room’s large reflective surfaces.
The family room is more saturated in color. An Ozzie Juarez painting sourced at Frieze informed the furniture choices, allowing the room to move away from the quieter pistachio-and-silver register while remaining part of the same visual story. This is an important distinction in a large house: consistency comes from recurring materials and shapes, not from painting every room the same color.
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Primary bedroom and powder room: silver replaces expected glamour
The primary bedroom centers on a custom bed made from white lacquer and polished steel. A silver-toned carpet, chainmail curtains and other metallic details continue the futuristic atmosphere, but the pale bed keeps the room from becoming visually heavy.
In the powder room, original gold mosaic was replaced with silver-toned mosaic. The change is small in area but significant in effect: silver aligns the room with the residence’s broader reflective palette and avoids introducing a separate warm-metal scheme.
The pool house is the clearest Polly Pocket moment
The detached pool house changes both color temperature and material behavior. Pink and aqua dominate, and transparent furniture lets the surrounding pool and sunlight remain visible through the pieces. This is the closest the project comes to a direct Polly Pocket analogy: recognizable toy colors, compact visual gestures and a setting that feels designed for play.
The outdoor bar and lounge provide a bridge between the two worlds. Iridescent mosaic tile surrounds the bar, producing a shell-like shimmer rather than the flat shine of polished metal. Artemide Alphabet of Light numbers display the address, turning wayfinding into part of the composition. Ayromloo summed up the appeal of the tile with the question, “Who doesn’t want to be inside of a seashell?”
Because the pool house is separate, its saturated palette can be exuberant without overwhelming the main residence. The project therefore avoids a common mistake in themed interiors: forcing every room to perform the same concept. The principal house carries the cinematic reference; the pool house gets to be openly toy-like.
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The entrance sets the color story before visitors reach the rooms
The front doors are peach-melba colored and sit beside koi ponds. Ayromloo said, “We wanted to go with something not as expected for Palm Springs,” explaining the choice as a deliberate alternative to the region’s familiar desert palette.
The door hardware contains its own historical twist. Sculptural handles initially thought to be original were removed for repolishing, when they were discovered to come from a 1990s IKEA designer collaboration. That finding does not diminish the entrance; it adds another layer to the house’s mixture of eras, provenance and theatrical effect.
A room-by-room map of the design decisions
| Area | Key materials or colors | Design role |
|---|---|---|
| Living room | Camaleonda sofas, Pierre Paulin chairs, custom rug, shiny amorphous tables, metal fireplace, reflective wall | Breaks a roughly 60-foot volume into conversational zones while establishing the Barbarella mood |
| Dining room | Glass table, mirrored-leg chairs, Kyle Bunting rug, Slinky-like pendant, mirrored-mosaic Space Curtain | Combines transparency, movement and pattern around the entertaining table |
| Kitchen | Desaturated pistachio cabinetry, cut-glass mosaic hood, long island, parlor-style stools | Improves circulation and balances practical work areas with a social centerpiece |
| Guest rooms | Flavor Paper wallpaper, silver geometry, patent-leather beds, metallic linens | Translates the reflective theme into smaller, more enveloping rooms |
| Primary bedroom | White lacquer and polished-steel bed, silver carpet, chainmail curtains | Uses pale reflective materials for a quieter version of the futuristic language |
| Powder room | Silver-toned mosaic replacing original gold mosaic | Aligns a compact room with the residence’s silver palette |
| Pool house | Pink, aqua and transparent furnishings | Creates the project’s most direct Polly Pocket-style setting |
| Outdoor bar | Iridescent mosaic tile, Artemide Alphabet of Light numbers | Connects the pool setting to the house through shimmer and sculptural signage |
| Entrance | Peach-melba doors, koi ponds, sculptural handles | Signals the home’s playful color strategy before the interior sequence begins |
What painters and renovators can learn from the palette
Use saturation to separate functions
The house does not distribute color evenly. Desaturated pistachio supports kitchen activity without dominating it. Silver and white create a calmer, luminous register in the primary suite. Pink and aqua are reserved for the pool house, where a more playful mood suits the setting. Assigning saturation by function is more controlled than choosing one “signature” color for an entire property.
Let sheen do work that color does not
Mirrored mosaic, polished steel, patent leather, glass and reflective walls provide variation even when the palette is limited. A room can therefore feel layered without adding many hues. For a painter, this means the finish level—matte, eggshell, lacquer-like or highly reflective—can be as consequential as the paint color itself.
Anchor a large room before decorating its edges
The living room’s custom rug and grouped seating solve the scale problem before smaller accessories are considered. In an expansive plan, establish circulation and conversation zones first; then use lighting, tables and wall treatments to reinforce those zones. The project’s long island performs a similar anchoring role in the kitchen.
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Repeat a material, not a motif
Metallic and reflective elements recur in the fireplace, dining furniture, bedroom details and mosaic surfaces, but they are not identical objects. Repetition creates continuity, while changes in texture and scale keep the rooms from looking staged as a single set.
What is documented—and what is not
Wallpaper*’s September 28, 2026 feature is the published basis for the address, reported completion year, reported 9,445-square-foot area and reported 12-bedroom count, as well as the room descriptions and quotations attributed to Ayromloo. Those property figures should be read as the feature’s reportage, not as independently verified property-record data.
The feature names the Camaleonda sofa, Pierre Paulin chairs, Artemide Alphabet of Light, Flavor Paper wallpaper, Paco Rabanne’s Space Curtain and Kyle Bunting rug for identification. It does not establish the exact photographed sofa configuration, upholstery, prices, current retail availability or a retailer for any of them. The design story is therefore strongest as an account of spatial planning, color and material decisions—not as a shopping list.
Why the combination works
The house succeeds because its two references are assigned clear territories. Barbarella supplies the main residence with reflective surfaces, sculptural silhouettes and a sense of cinematic scale. Polly Pocket supplies the pool house with compact visual joy: pink, aqua and transparent forms placed directly beside the pool. Between them, the original mid-century structure remains legible.
Rather than treating fantasy as a theme to apply uniformly, Ayromloo uses it as a method for deciding what each room should make people feel. The result is a Palm Springs home that can host a large party, support everyday circulation and still offer the escape promised by its two unlikely cultural touchstones.
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