The Snellman House, designed in 1918 by Erik Gunnar Asplund, is a perplexing and much-debated project in the canon of early modern Scandinavian architecture.  Its irregular window placements, curious floor plan, and strange compositional choices have led historians to question Asplund’s intent—was it an early experiment in spatial freedom or a transitional misstep?  Embracing this ambiguity, the new addition leans into the house’s eccentricity rather than smoothing it out.  A raised guest room, clad in wood, perches on a deck that wraps around and encapsulates the original structure.  From the ground, a gangway leads to the guest room and looms overhead, and features a full-height glass wall that opens to the landscape, offering a quiet observational perch over the property.  The intervention is deliberately odd, acknowledging the house’s original oddity as a virtue rather than a flaw.  It playfully expands the Snellman House's legacy by amplifying its architectural idiosyncrasies—creating a dialogue between early 20th-century experimentation and contemporary spatial absurdity.