As a teenager in Stuttgart, Germany, in the 1980s, the fashion designer Tina Lutz was always embarrassed to invite friends over to her family’s home, a modern two-story rowhouse built in 1972 with a sharply angled roof in a vineyard-blanketed neighborhood on the city’s outskirts. The interiors, conceived by her now 84-year-old architect father, Hans-Dieter Lutz, felt to her too dated, too ’70s. Now 53, she still recalls wanting a “house designed in shades of black and white — like everyone else had.”

[Sign up here for the T List newsletter, a weekly roundup of what T Magazine editors are noticing and coveting now.]

Instead, the interiors of her childhood home felt, and still feel, like living inside a Modernist kaleidoscope. Throughout the ground floor, the walls are painted an organic-egg-yolk yellow, punctuated with an eclectic collection of small drawings and paintings, many of them by local artists (Lude Döring, Jörg Dieterich, Robert Förch) inspired by the Bauhaus. The floor is a frenetic surface of contrasting brown and white tiles that run diagonally across the hallway and into the main room, with its Saarinen-inspired dining set in matching white fiberglass with chocolate-colored cushions. Upstairs, there’s wall-to-wall carpeting and teak-and-pine-wood cabinetry in the same rich hue, and the two levels are further linked by a 26-foot-tall tower-cum-storage-cabinet: The bottom of it contains several closets and drawers, while the top transforms into the second-level mezzanine, with a tangle of green leafy plants and Noguchi paper lanterns. Aside from a pair of classic midcentury lounge chairs upholstered in orange wool and a Danish 20th-century cast-iron wood stove, most of the top floor’s furnishings — from the wooden sideboards and benches to the window alcove that doubles as a daybed — were designed by Lutz himself and built by a local manufacturer.