Main Hall
The Main Hall's comfortable, human scale and warm, welcoming atmosphere are somewhat unexpected for a house this size. The relatively small and simple front door and the low ceiling are characteristic of the Fords and their understated tastes.  The design and construction of the hall, as well as the variety of treasures it holds, are an indication of the overall excellence of the house and its furnishings.

Library
An inviting and comfortable room, the library was a favorite family gathering place.  The warm 17th century oak paneling, the Caen stone Elizabethan chimneypiece, the low ceilings and extensive book collection all contribute to the sense of relaxed comfort.  

Drawing Room
One of the largest, and certainly the most formal of the rooms in the house, the Drawing Room is what would be considered by most a "living room."  The room was originally English, in keeping with the style of the house, but as Eleanor and Edsel acquired French Impressionist paintings and elegant 18th century French furniture, the room was redecorated in a French style.  The blue-green shade of the paneling and the gold-leaf trim were chosen to compliment two very important works of art by Paul Cezanne: the oil painting Mont Sainte Victoire, and the watercolor Bouilloire et Fruits (Kettle and Fruits), both of which remain on display at Ford House.

The Fords often entertained guests in the Drawing Room before dinner and hosted meetings of cultural and charitable organizations they supported.

Gallery
At 25 x 60 feet, the Gallery is the largest and one of the most impressive rooms in the house.  It was planned this way to allow for large gatherings such as dances, parties and family celebrations. The room resembles an English baronial hall with its architectural details, such as a richly carved plaster ceiling and antique "linenfold" English paneling.  The paneling and the huge Gothic chimney piece came from Wollaston Hall in Worcestershire, England.

Study
The Study, filled with photographs of both close friends and distinguished visitors, was the personal retreat of Edsel Ford and the room to which gentlemen retired after dinner.  It remains essentially as it was at the time of his death in 1943.  Just over the center of the carved stone fireplace, the paneling, which is Elizabethan oak from Heronden Hall in Kent, England, is inscribed with the date 1585.  As is evidenced by the many pictures in this room, photography rivaled sailing as Edsel's favorite hobby.  It also contains a model of one of the Fords' favorite sailboat, "The Acadia."

Modern Room
Both Edsel and Eleanor Ford embraced the best contemporary design of their day.  Nowhere in their home was this more evident than The Modern Room. The Modern Room is often a surprise to visitors as it is a shocking departure from the predominantly antique English style of the home.  In the 1930s the Fords commissioned distinguished industrial designer Walter Dorwin Teague (link to the designers) to install four very streamlined rooms in Ford House -- three rooms for the boys upstairs and this recreation room on the first floor. Also known as "Art Deco," the "modern" style borrowed several elements of design from the Machine Age and was characterized by fine craftsmanship, choice of materials in a variety of contrasting textures and the use of indirect lighting.

Dining Room
One of the most beautiful rooms in the house, the Dining Room is paneled with dark pine from the 1740 Treaty Room of Clock House in Upminster, England. The Dining Room has no chandelier, as Mrs. Ford thought that natural light, such as firelight, candles and sunlight, was softer and more flattering than electricity, therefore, no electrified chandelier was ever installed in this room.

The focal point of the room is a Queen Anne-style dining table, which is set with linens, china, crystal, and silver from the Ford House Collection.

Morning Room
Called the Morning Room because it receives the soft morning light, this room was used as an intimate living room close to the Dining Room.  It was to this charming room that the ladies retired for their after dinner coffee.

Landing
Sweeping views of both the Main Hall, with its leaded-glass windows and wrought-iron-grilled doors, and the Second-floor Hall may be seen from the landing.  At the top of the stairs is a reproduction of a portrait of Edsel Ford by the Mexican artist Diego Rivera. In it, Edsel is depicted as an automobile designer and shown in front of a drafting table with drafting tools. It was painted in 1932, the same year in which Rivera painted the Detroit Industry frescoes in the Garden Court of the Detroit Institute of Arts through the support of Mr. Edsel Ford.

Josephine's Bedroom
Once the bedroom of a typical teenager, complete with sports pennants and trophies, Josephine's bedroom was transformed into a guest room in the 1950s following her marriage.  The only bedroom in the entire house that has a fireplace, the room has a feminine, soft pink color scheme and a splendid view of Lake St. Clair.
 

Mrs. Ford's Sitting Room
Truly one of the most breathtaking rooms in the house, and perhaps the room in which Mrs. Ford's presence is most felt, is her Sitting Room. It was here that she conducted most of her daily business, read books or wrote letters, or sometimes took her meals.  The style is predominantly Louis XV and features pink paneling and a fireplace of the same rouge royal marble as that in the dining room.

Master Bedroom
The comfortable and intimate Master Bedroom was redecorated in the 1950s in an attractive and cheerful color scheme of peach, orange and yellow.  Here is where Mrs. Ford most strikingly joined the design of the interior with exterior of the home, by choosing azaleas in matching colors, and having them planted around the lagoon where they could be seen from the bedroom window.

Yellow Guest Room
The Yellow Guest Room was originally young William's bedroom but was redecorated in the early 1940s as an elegant retreat for guests. Visually appealing, the room is dominated by a tester double bed with colorful hangings of yellow and rose English chintz. The room contains an almost encyclopedic sampling of eighteenth-century English furniture styles. Most notable are a Queen Anne walnut wing armchair, a George I inlaid walnut chest-on-stand, and a pair of Adam armchairs.

Boys' Sitting Room & Bedroom
Like the Modern Room on the first floor, the Boys' Sitting Room and Bedroom are an outstanding example of streamlined, modern style of the 1930s.  Benson and William Clay used the double-room suite after older brother Henry moved into his private bedroom across the hall.  Designed by Walter Dorwin Teague, the suite's softly colored woods and warm, textured fabrics contrast with the polished copper floor lamp, reading lamp and other fixtures.

The bedroom's decorations and furnishings echo those of the Sitting Room next door, such as the bright copper light fixtures, overstuffed chairs, and low, circular table with a built-in radio.