An Introduction to Modern Textiles: Kit out your furniture in luxurious silk or no-frills leather,; textiles can add just as much dimension to room as art, and can be equally collectible.

Get a dose of art and the great outdoors by visiting the Audain Art Museum. The principals will confirm that this trip is worth driving outside of Vancouver to visit the museum in Whistler. Designed by Patkau Architects, the museum was placed behind the background of Canada’s expansive wilderness.

Classic butterfly chairs from Universal Patio Furniture are stationed by the pool. The mural is by street artist Morley, a close friend.

Living Moss wall in powder room created by Minarc.

Architecture: Museum of Contemporary Art, Cleveland, OhioDesigned by Farshid Moussavi Architects, this museum’s liquid-like surface reflects the city back onto itself.

With 5,000 square feet on the ground floor, the structure boasts two capacious exhibition spaces, which the couple use to show their own work, as well as rent out to others for private events.

In Seattle's rapidly developing South Lake Union neighborhood, the Art Stable is a classic example of urban infill. Built on the site of a former horse stable, the seven-story mixed-use building carries its history into the future with highly adaptable live/work units.

The 'New Bulgarian Typography' exhibition at Vivacom Art Hall featured twenty artists from different generations who employ traditional Cyrillic fonts and schooled methods as well as youthful experimentation with calligraphy and bold contemporary typefaces. Photo courtesy of Sofia Design Week.

Hooper House II's new owner, Richard North, has altered the house very little, though he did convert the carport into an enclosed garage to provide greater protection for his collection of automobiles. Read more about the mid-20th century Marcel Breuer Hooper House here.

Built on the site of a former horse stable, Art Stable is a mixed-use infill project in Seattle, Washington, that boasts an 80-foot-tall hinge for hand-cranked doors. Photo by: Benjamin Benschneider.

“For me, an idea can come from anywhere,” says Tim, an artist who has an interest in product design, and often incorporates found items into his work. “I really enjoy the challenge of finding an object and responding to it.”

Poster 115

While access to 101 Spring's upper floors requires advance reservations, the first floor exhibitions will be open to the public on Friday and Saturday afternoons. Future exhibitions will continue to combine art, books, and Judd Furniture. "Art and architecture—all the arts—do not have to exist in isolation, as they do now," said Judd in 1986. "This fault is very much a key to the present society. Architecture is nearly gone, but it, art, all the arts, in fact all parts of society, have to be rejoined, and joined more than they have ever been." Image © Judd Foundation; Photo credit: Sol Hashemi; Judd Foundation Archive; Flavin artwork © 2015 Stephen Flavin/Artists Rights Society (ARS), New York; courtesy David Zwirner, New York/London; Licensed by VAGA

In the 1960s, artist Donald Judd—best known for the minimalist sculptures he referred to as "specific objects"—was one of the pioneers in transforming SoHo from overlooked industrial area to the center of the art world. Before his death in 1994, he planned for his home and studio, a five-story cast-iron building at 101 Spring Street, to be a permanent installation featuring more than 1,000 works of art, furniture pieces, and decorative and ceremonial objects. After a detailed restoration, 101 Spring opened to the public in 2013. Image © Judd Foundation; Photo credit: Maris Hutchinson, EPW Studio; Judd Foundation Archive; Flavin artwork © 2015 Stephen Flavin/Artists Rights Society (ARS), New York; courtesy David Zwirner, New York/London; Licensed by VAGA

Nike's Flyknit exhibition designed by the architect Arthur Huang adds a kick to the Palazzo Clerici courtyard.

The stark white cases of Alexandra Gubeli's exhibition design mimicked the work's clean geometry.

A trio of resin skulls works as manly wall art above a burly end table from Urban Hardwoods and on a wall painted with ICI Paint’s Noble Grey.

The Lyons’ younger daughter practices cello in her bedroom, which overlooks the central gallery space.

"I thought the building should be repaired and basically not changed," Judd said in 1989. "The given circumstances were very simple: the floors must be open; the right angle of windows on each floor must not be interrupted; and any changes must be compatible." While most of the building remains almost exactly as the artist left it, the Judd Foundation is now introducing special exhibitions on the first floor of 101 Spring. The first is Make art, not pipelines: Get in on the Ground Floor, which features two works by artist Dan Flavin and runs through September 19, 2015. Image © Judd Foundation; Photo credit: Maris Hutchinson, EPW Studio; Judd Foundation Archive; Flavin artwork © 2015 Stephen Flavin/Artists Rights Society (ARS), New York; courtesy David Zwirner, New York/London; Licensed by VAGA

This kachelöfen was part of an art exhibition, "Oven of Fire and Myth" at Macdonald Stewart Art Centre in Guelph, Canada.

Studio Blue, "Windows on the War" Exhibition Catalog for the Art Institute of Chicago On display at CHGO DSGN

Phillips designed Judith a stark white, glass-fronted art studio.

OPA wanted to free themselves from logic imposed by a grid and considered various inefficient configurations of shipping containers. They settled on a combination of options, seen in the trikselion shape here. The Presidio, San Francisco, California. Mobile exhibition pavilion for the For-Site Foundation. © Tim Griffith.

The main rooms include an art nook.

Frank Lloyd Wright and Eugene Masselink at the exhibition Frank Lloyd Wright, American Architect, November 13, 1940–January 5, 1941, in The Museum of Modern Art, New York. Photo by Soichi Sunami.

New-old Fiberglas Eames chairs at Herman Miller preview at The Standard during ICFF.

St. Mark’s in the Bowery Towers, New York, 1927-31. Wright designed an apartment tower to be built in the East Village on church property, but this project was never realized because it was too radical for the church rector. The all-glass- and copper building was meant to evoke a suburban feeling in Manhattan with sunlit apartments and a leafy park. The Museum of Modern Art, New York. Jeffrey P. Klein Purchase Fund, Barbara Pine Purchase Fund, and Frederieke Taylor Purchase Fund.

The relationship between north and south isn't the only connection on display at the show. Architectural models give insight into the designer's building practice, echoing the lines of the furniture on display.

For the exhibition Made in America, architect and designer Arthur Casas—who has studios in São Paulo and New York—brings the sights, scenes, and even the smells of his native Brazil to New York's Tribeca. Upon entering the space, visitors are greeted with a montage of scenses from Brazil projected over Casas's architectural drawings—and a signature scent created by cosmetics company Natura. The dramatic entrance does more than transport visitors to South America, it also gives a glimpse into the designer's process—as Casas points out, he still begins all his designs with a sketch by hand.

Wall Relief, Modern Law Firm by Jill Dudensing Lifestyle + Design

Refraction can only be viewed via the gun gallery, where armed guards once patrolled. The sculpture, made up of Tibetan solar panels, seems poised to fly, yet too heavy and constrained to do so.

With Blossom, Ai fills the vessels in the hospital and psychiatric wing with white porcelain flowers, infusing a healing element to a bleak canvas.

Stay Tuned is an audio exhibition, which pipes protest songs and speeches through the grates in individual cells, made infamous for becoming the passageway allowing the famous escape from Alcatraz.

Ai incorporated himself into the show in a subtle way, with these words on the With Wind dragon.

The Memphis design retrospective exhibition at Corso Magenta.