his quantity surveyor, Kenneth Monk. These houses mark the height of 1960s life style, many designed as a series of connecting rooms that could be thrown together for parties, and with built-in dressers and drinks cabinets. Televisions and gramophones were cleverly concealed, and in one house were hinged within the wall to serve different rooms. Throughout the 1950s and 1960s, Gwynne designed a number of houses in Hampstead and Blackheath in London, and in Surrey, Oxfordshire and Dorset, many of which have been Grade II listed. The Homewood (1938–39) Building The Homewood when he was just 24, Gwynne acknowledged his sources as Le Corbusier's Villa Savoye and Ludwig Mies van der Rohe's Tugendhat House. Despite his enthusiasm for flat surfaces, man-made materials and rigorous lack of ornament, Gwynne produced a remarkably mature design at a young age, designing all the built-in furniture, light fittings and innovations such as ensuites and window mechanisms. The main accommodation is raised on pilotis to accommodate parking for the family's many cars. There is one large living room with a dining area screened at one end. The five bedrooms are in a separate wing and the servants' quarters had room for four servants. His parents had "one good year" in the house, but died early in the Second World War, while Gwynne was serving in the Royal Air Force constructing airfields. War broke out just after the family home was finished. Commander Gwynne resumed his naval duties, Patrick joined the RAF and his sister, Babs, went to the Wrens. Patrick's mother Ruby let the house, but died along with her husband in 1942. After the war, Patrick returned along with his sister, who soon married and left. His long-term companion, pianist Harry Rand, had an adjoining bedroom, identical to Gwynne's, with a single bed and washbasin concealed behind sliding panels. He carried on a highly successful architectural business from the house that he was to live in for about 60 years. In 1946 he restored the house for himself, remodelling the kitchen to the servantless times (though he continued to be looked after by housekeeper friends). His parents' bedroom was added to his office space. Murals by Peter Thompson and Stephan Knapp, and furniture to Gwynne's own design, were added over the years. He continually modified the house over time so that it represents design from the 1930s and 1950s to the 1970s. The building