3405 Fryman Road, Studio City, CA 91604

Fryman Road was given its name in 1941, for Harmon Christian Fryman, an Ohio-born hotelier who reached Los Angeles in 1893 and worked up from bellboy at the Mount Lowe Hotel to owner of the Hotel Hayward, which he opened on Spring Street in 1906 and which still stands. By the 1920s he had assembled more than a thousand acres in these hills, and in 1939 he and Donald Barker subdivided part of the holding as the Briarcliff Manor tract. The canyon has carried his name ever since.

What was never built on became parkland. Wilacre Park runs to 128 acres in the eastern Santa Monica Mountains, and its trailhead address is 3431 Fryman Road, a few hundred feet up the same road from this gate. The Betty B. Dearing Trail leaves from there, climbs through chaparral, walnut woodland and coastal sage scrub, and carries on to Fryman Canyon Park at Mulholland and Coldwater Canyon Park beyond it.

A Mediterranean house of 1923 stood on this acre and a half for most of a century. Alex Trebek bought it in 1991 and kept it for nearly thirty years, until 2020; his family sold it in May 2022, and the site was cleared in September 2023.

What was drawn for the cleared ground came from Studio Rob Diaz, the Los Angeles design and construction practice Rob Diaz runs with Mark Alexander. Diaz began as an appraiser and broker before turning to design, and the studio's earlier work includes the Studio City house that Architectural Digest ran as a cover story for the model Amber Valletta. This house was completed in 2025.

A sculptural composition of A-frame volumes, clad in custom-milled wire-brushed cedar of variable width, under a standing-seam metal roof. The plan is a U, turned in on a stand of century-old redwoods that were kept, on a site that runs about three hundred feet wide, an unusual dimension for this part of Los Angeles.

Diaz has cited Swedish country houses and Northern California for the exterior, and 1930s interiors by Jean-Michel Frank as the reference for the rooms. He has said the interiors were meant "to hug you a bit," and to embrace the land rather than distract from it. Limestone does the walling and the two rear pavilions. Copper appears as planters and oversized downspouts, Corten steel holds more planting, and the decking was milled in teak. The landscape, a meadow rather than a lawn, is by ORCA.

Ceilings reach roughly thirty feet at the peak of the main volume. Floors are Belgian oak, the wall paneling is hand-finished, and titanium travertine, honed marble and copper carry the surfaces, with mixed rift-sawn white oak running through the rooms. Window treatments were made in linen. The lighting is Apparatus.

The kitchen is built around an island in marble with a walk-in pantry off it. Seven bedroom suites and eleven baths, the primary holding a spa bath and two oversized closets. There is a foyer entry under cathedral ceilings, an office, a den, a bar, a theater, two fireplaces, and separate maid's quarters.

An acre and a half, gated at the road, with parking for twenty-three and four-plus cars garaged. A salt-water pool with limestone decking sits in the meadow at the center of the site. Two bespoke limestone pavilions flank the rear: one given to wellness, with a spa, a grand sauna, a cold plunge and a massage suite, the other a fitness studio.

The redwoods the plan was drawn around were standing here long before the road had a name.

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