Hollywood visionary David Lynch’s one-of-a-kind California compound – a surreal, seven-structure estate – has hit the market for $15 million. 

The renowned filmmaker, celebrated for creations such as Mulholland Drive and the iconic series Twin Peaks, passed away in January at the age of 78 after a poignant battle with emphysema, which left him ‘barely able to walk across a room.’

Almost eight months following his death, the star’s secluded 2.5-acre compound nestled amidst the winding roads of Hollywood Hills has been put up for sale, according to The Wall Street Journal.

The residence reflects Lynch’s intentional design: a space where the boundaries between living and creating are intentionally blurred, rooted in his conviction that environment plays a crucial role in fostering inspiration.

Spanning several structures – from private residences to dedicated artistic studios – Lynch’s estate serves as a creative haven where some of his most iconic pieces came to life.

You’ll find an impressive total of 10 bedrooms and 11 bathrooms spread across the various structures, blending functionality with artistic flair. 

But the iconic compound began as a three-bedroom 1960s house designed by architect Lloyd Wright, which he purchased in 1987 for $560,000. 

The Wright-designed house, covering around 2,000 square feet, features striking cement chevron patterns on its exterior, complemented by vast windows and skylights that bathe the interior in natural light.

Hollywood visionary David Lynch’s (pictured) unique California estate – a fantastic, seven-structure property – is now on the market for $15 million.

The home (pictured in part) reflects Lynch’s deliberate vision: a space where the lines between living and creating are purposefully blurred, grounded in his belief that environment is essential to inspiration

Also known as the Beverly Johnson House, it has been designated by Historic Places Los Angeles as a prime example of mid-century modern and organic residential design, according to Variety.

The home ’embodies the drama of hillside modernism with bold geometry, walls of glass and a seamless flow between indoors and out.’ 

In his own words, Lynch said in a 1997 interview that the Wright house ‘affects my whole life to live inside of it,’ as reported by the WSJ.

‘And then sometimes I see things, shapes or something, that would go inside of it and that leads to furniture or film,’ he added.

Yet that humble home was only the centerpiece – over the next few decades, Lynch expanded and assembled the sprawling compound that stands today. 

Two years later, in 1989, Lynch acquired a two-bedroom Brutalist-style house next to the Wright residence for $542,300. 

In 1991, he brought in Eric Lloyd Wright – Lloyd Wright’s son – to create a pool and pool house for the estate. 

Lynch expanded further in 1995 by acquiring a nearby studio building for $346,500, which later housed his production company, Asymmetrical Productions. 

Over the course of his career, cigarettes became a visual fixture in Lynch’s (pictured) movies, as well as a part of his own persona as an avant-garde filmmaker 

He undertook major transformations of the two properties, designing many features himself – most notably converting the Brutalist-style home into a creative studio where he immersed himself in editing films, sound design, painting and sculpture. 

The reimagined studio included an expansive library, screening room and state-of-the-art production facilities, complete with a fully equipped editing suite.

It was inside this building that Lynch brought to life some of his most celebrated creations, including Mulholland Drive.

Later, he acquired a two-story guest house and an additional one-bedroom living space – and together, these residences formed the expansive estate where he lived for over 35 years. 

While the Wright-designed property retained its original architecture, the other structures shared an industrial-type aesthetic, each finished in smooth Venetian-style plaster with a dark, muted gray tone. 

He created multiple workshop spaces where he experimented with new ideas – including the frequent ‘weather reports’ he shared from the property during the pandemic. 

Inside the compound, metalwork and wooden elements – all designed by Lynch himself – thoughtfully line the home. 

The incorporation of these elements ultimately mirrored the emotional contrasts in his own films.

The incorporation of metalwork and wooden elements mirrored the emotional contrasts in his own films – including Blue Velvet (pictured) – which used sound and silence to build tension while delving into duality, such as good versus evil

Several of Lynch’s films – including Eraserhead, Blue Velvet and Lost Highway – use sound and silence to build tension, while delving into obsessions with duality, such as good versus evil and appearance versus reality.

Rather than providing clear explanations, his films unfold like dreams – hinting at uncanny moments and unsettling mysteries, all deeply influenced by the unique atmosphere of his living environment.

The outdoor spaces – featuring hiking trails, enclosed courtyards, and layered architecture – provided him with tranquil retreats amid the bustle of the dense city.  

Though the property just recently hit the market, listing agent Mark Silver and his colleague Barry Sloane hope it will sell quickly – ideally to a fan, foundation, or museum eager to preserve it exactly as it is, according to the WSJ.

While there’s always a chance the new owner might want to build a new home on the site, Silver warned that ‘there would be a strong response from the public’ if anyone tried to demolish or alter the Wright-designed structure. 

But he believes the property ‘would be a very strong candidate for historical designation.’ 

Lynch’s tragic passing followed a harrowing decline in the final months of 2024, during which his health rapidly deteriorated. 

He began smoking at the age of eight and was diagnosed emphysema in 2020 before finally giving up cigarettes in 2022. 

Lynch’s films unfold like dreams – hinting at uncanny moments and unsettling mysteries, all deeply influenced by the unique atmosphere of his living environment (pictured: Twin Peaks series)

In August of last year, he insisted he would ‘never retire’ but acknowledged he could only direct remotely, as making movies in person put him at risk COVID-19.

By that November, he revealed he was reliant on supplemental oxygen and struggled to breathe, describing the sensation as if he had ‘a plastic bag’ over his head, he told People.

Over the course of his career, cigarettes became a visual fixture in his movies, as well as a part of his own persona as an avant-garde filmmaker. 

He attempted to stop smoking ‘many, many times’ over the years ‘but when it got tough, I’d have that first cigarette, and it was a one-way trip to heaven,’ he reflected. ‘Then you’re back smoking again.’ 

News of his death was greeted by an outpouring of praise from Hollywood figures, including fellow directors James Gunn, Harmony Korine and Ron Howard.