Photograph by Peter Belanger

As the manager of the GM Design Archive and Special Collections, Skarsgard has been collecting ephemera from the history of the Technical Center. She's amassed an incredible array of photographs, newspaper articles, and marketing materials from when the Center first opened in the 1950s. The caption accompanying this image reads: "A view of the patio and pool contributes to precision engineering"—a statement that reflects GM's desire to provide inspirational surroundings for its employees. Saarinen considered every element of the project in is design, including the machinery's color when planning the interior schemes.

Paspalum grass photographed at the Miami Beach Golf Club on November 18, 2009 in Miami Beach, FL, USA. (photos by: Richard Patterson)The HSBC Private Bank Designers lounge designed by Greg Lynn and featuring the sculpture / installation work of Arik Levy for Design Miami 2009 in Miami, Fl on December 1st 2009. (photos by: Richard Patterson)The HSBC Private Bank Designers lounge designed by Greg Lynn and featuring the sculpture / installation work of Arik Levy for Design Miami 2009 in Miami, Fl on December 1st 2009. (photos by: Richard Patterson)The HSBC Private Bank Designers lounge designed by Greg Lynn and featuring the sculpture / installation work of Arik Levy for Design Miami 2009 in Miami, Fl on December 1st 2009. (photos by: Richard Patterson)

Print from Lee Friedlander: Photographs (Haywire Press), shot in New York City in 1963. According to Hilger, publishing under Haywire, Friedlander's own imprint, "allowed him the control that would not have otherwise been possible working with commercial publishers." Images copyright Lee Friedlander/Fraenkel Gallery.

Photograph by Rinko Kawauchi.

Stairs, 2014. “The tallest building in Fort Worth, Texas, this simple brutalist architectural design is a unique addition to the vibrant and growing downtown landscape, with a strong, repetitive pattern of windows being interrupted by meticulous, powerful vertical lines,” says Olic.

Hypnotic, 2014. “The saturated facade of this late-modernist 1981 office building in Houston, Texas, exposes the inner paths of its elevators, outlining the dramatic black-and-white lines with glass and aluminum,” notes Olic.

Twisted, 2014. “With its metallic waves and twisted reflections, this Frank Gehry masterpiece in New York City looks out of place in a beautifully unexpected way, seen here from the nearby Brooklyn Bridge,” says Olic.

During The Case Study Houses' Influence on Modernism conversation, Alvin Huang, who leads the Architectural Association School of Architecture Visiting School in Los Angeles (AAVSLA), will speak about the continuing impact of buildings such as Pierre Koenig’s Stahl House and John Lautner’s Sheats-Goldstein Residence. During the two-week AAVSLA program, students study L.A.'s iconic houses as a way to spark conversation about the future of residential design. Photo of student work at the AAVSLA booth on the show floor at Dwell on Design, 2014.

Diagonal, 2014. “This new building in downtown Dallas explores is the representation of nature and flora found through Texas,” says Olic. “Its garden, roof, and balconies hold plant life in modern concrete enclosures, often providing unexpected disorienting angles.”

Ripped, 2014. “The angled top floors of this dark red office building in New Orleans, Louisiana, provide an interesting collage with the white building a few blocks down the street,” says Olic. Combining the two is a simple photographic idea of a structure ripped into two distinct parts.”

Lasagna: “The best time to photograph this unusual layered building north of San Antonio, Texas, is early morning, giving the one memorable side of the structure plenty of strong light for its complexity and angles—visible for miles,” notes Olic.

The clean, rational Tucson Convention Center makes use of arid land plants and is the only civic space by Garrett Eckbo in the state of Arizona.

Photograph courtesy the Beijing Times.

A 2002 photograph of the courtyard in progress.

A Taryn Simon photograph in the entry greets visitors. The vintage Raindrops mirror is by Curtis Jere; the Lucellino table lamp is by Ingo Maurer.

Architect Lawrence Halprin wrote of his Portland Open Space Sequence that he wanted the eight blocks of parks and plazas to contain "nodes for quiet contemplation, action, and inaction, hard and soft, yin and yang."

My Mother Posing for Me, 1984.

Sweeney is living in the house during the installation, until it is demolished at the end of February.

Backyard Hercules, 2009, from the Homeland series.

Oranges on Fire, 1975.

Canal District, San Rafael, 2006.

Business Page, 1985.

“The large cutout is perfect for entertaining, but also frames the Edward Burtynsky print in the dining room,” Dubbeldam says.

Eames Mugs "Although the Eames are no longer around to design for us, they’re still inspiring us—in this case, with artist's tools from their popular House of Cards," Derringer says.

The exhibit features photographs taken by Sweeney's father. Sweeney enlarged the images and had them printed on MDO board. They cover the entire house.

Photograph by Adam Lau. Image courtesy The Chronicle.

A period photograph from the Sydney Police Department.

Dear Photograph brings photos of the past to the present.

Vienna–born architect Richard Neutra designed the Kaufmann House in Palm Springs in 1947 for Edgar Kaufmann, Sr., the Jewish owner of a trendsetting Pittsburgh department store. Jewish architectural photographer Julius Schulman captured the striking home in this image.

The Chamberlain Cottage by Marcel Breuer and Walter Gropius in Weyland, Massachusetts, photographed by Ezra Stoller in 1941. Courtesy Carnegie Museum of Art, © Ezra Stoller/Esto, Yossi Milo Gallery

Broken, 2014. I.M. Pei's Fountain Place in Dallas, Texas, built in 1986. “He used angles, triangles, planes and prisms to create a seemingly impossible visual space with this building,” says Olic. “The view from the east makes the structure seem broken and folded down the middle.”

In the summer of 2010, photographer Eirik Johnson adventured to the most northern stretch of the United States to capture several hunting cabins in Barrow, Alaska. He returned in winter 2012 during the frigid Arctic Winter Solstice to photograph the same cabins at the precise angle and position, as he did that one summer. With only a brief four hour window of dusk-like light during this recent winter trip, he still managed to succeed in a complete visual contrast, especially when the images are viewed side by side.

One of German artist Matthias Heiderich's photographs of Berlin.

Four-year-old Seamus relaxes in the living room, whose plywood walls are covered with family photographs.