The early 20th century Russian Architect Konstantin Melnikov, in one of his most iconic buildings, arrayed a number of hexagonal windows around the surface of a circular house which became both the organizational strategy for the exterior wall (escaping the need to "compose" the façade) as well as a "liberative" new way to organize light in the interior by aspiring to create even lighting to the rooms inside without the need for large, expensive openings. The clients for this project on a steep hillside slope in Los Feliz, CA were fascinated by the Melnikov design which had been recently renovated and re-published in the New York Times. In contrast to the heavy — albeit economical — brick system used in Moscow, how could a much lighter metal hexagonal frame be used as an organizational system for the skin (and overall structure) of the house without becoming cylindrical or geodesic (impractical for the client and the site)? The skin is sometimes dematerialized to focus views and light, and at other times it pushes inwards or outwards to accommodate aspects of the domestic program or the existing trees in close proximity on the site.