Suzanne and Brooks Kelley at the back of their 1,100-square-foot guest cottage.

The owners toured this home, which surrounds a mature tipu tipu tree, while visiting relatives for the day. The brick is original to the 1947 construction.

Sliding doors by Quantum were made to look like the original panes that couldn't be saved, and they lead to a fire pit outside.

“A building can have far greater impact than the space it stands in.”—William Carpenter, architect and resident

New zoning allowed for a zero-lot-line structure, but required a public storefront, which Carpenter uses as an art gallery.

See Arch restored the exterior fireplace wall and painted it a deep blue hue to match the repainted blue timber cladding.

The bath’s Kohler Purist fixtures and Frederick Weinberg animal figures sit on a Corian countertop

The Airstream Haus’s interior is minimalist, but comfortable, boasting a fully functional kitchen and queen-size bed that doubles as a couch.

The Kelleys furnished the cottage with help from Suzanne’s daughter Betsy Burbank of Betsy Burbank Interiors. Classic modernist icons, such as a Saarinen Womb chair for Knoll, a Herman Miller Eames lounge chair, and an Eileen Grey E1027 side table look at home alongside present-day pieces such as an Encore sofa (which handily folds down into a sleeping surface) from Room & Board and a Doka rug designed and produced by Stephanie Odegard. The Wohlert pendant lights from Louis Poulsen were designed by Vilhelm Wohlert in 1959, but grouped as such, they appear distinctly contemporary.

The Airstream Haus, parked in Ojai, California. August says that when your dwelling is small, it’s important to make the most of outdoor space.

“I really believe buildings are part of a city as an organism.”—William Carpenter, architect and resident

The working color palettes are hues of pinks but Campbell is musing about introducing blues and indigos.

Building on her sensual flare for lighting design, Campbell’s vision for Das Haus’s gentle light will include string lighting in collaboration with Kvadrat, who will tailor print textile envelopes for the lamps. “There will be giant chains of light,” beams Campbell.

“By emphasizing the low-tech element, I am inviting house users and house guests to play,” says Campbell, “Manual cooking, saws and wrenches, surfaces to work and measure on – this house may not contain the most gorgeous Italian vase but it has every tool imaginable, even antique Japanese tools – your neighbors will want to come to borrow them all and fix everything under the sun”. Rather than being old-fashioned, Campbell insists this approach is a survival strategy for the digital age.

The maquette that Campbell is working from is a giant storage unit simulacrum, where a series of boxes come to life with their uses, which are meant to be flexible but still rational.

When the installation is up at imm Cologne, actors using tools, cooking and casually playing music will circulate through the space to emphasize the ambiance of Campbell’s Das Haus vision. “They will make noises and smells, and remind us that in the 21st century we are revising the idea of organization: organized love, organized relationships and the organized rigid interior habits that keep us from an exploration of what lays beyond.” Namely: voluptuousness and the DIY know-how essential for preservation beyond cyberspace.

“In my free time I have been exploring what I call The Love Project, an inquiry into how yin meets yang – not just in personal relationships but in qualities and values of spaces. Some of these ideas have leaked into Das Haus, where emotion comes together with function,” says Campbell.

Black and white kitchen tiles add visual interest to this stunning modern kitchen by IKEA.

Neutra's Kaufmann home was initially designed for living just two months out of the year. Yet after the original owner passed, future tenants attempted to retrofit the space for year-long use. An air conditioning unit was placed atop the roof, and square footage was added, enclosing this courtyard. To return it to its original state, the current owner underwent a five-year restoration and reopened this courtyard to honor the original design. Photo: Tim Street-Porter

The first step was to tear out the existing wall-to-wall carpeting and replace it with cabin-grade, oak flooring to give the house a classic feel and to help anchor the more modern walls and trim. They ordered the flooring from a large company and despite it being the cheapest option offered, the total expense came to $2,300 for materials, making the wood floors—according to Anderson—their biggest splurge.

The apartment is accessed via an old freight elevator. The cabinetry around the elevator entrance—including a massive bookshelf and storage space—is black, contrasting with the white brick walls and the white oak joinery.

Pleased with the pop-up they designed last summer, Frame approached i29 again this fall to construct a more long-term installation: a shop meant to evoke a 3-D walk through of an issue of their magazine.

Dump Truck by Green Toys, $20.

Fashion-tech designer Anouk Wipprecht’s white Spider Dress 2.0 was developed with Philip Wilck along the lines of a previous dress she made inspired by arachnids. The 3D-printed robotic garment with eight jointed arms (activated by sensors and Intel Edison chips with artificial bio-signal intelligence) protects the wearer. Depending on the wearer's mood—agitated or pleased—the arms of the dress spring upward to ward off intrusions.

Part of the PIXEL series, the Ripple 2.0 Coffee Table, shown in walnut with powder coated steel pulls, takes the same inspiration of the movement created by a ripple of water and brings it to a different, slightly darker, place by using a different kind of wood and pixelating the motif further.

Sherbanuk (left) and Campbell sit by the outdoor fireplace, which adjoins the screened-in porch.

Campbell’s Little Bird swing flies high alongside modern classics like the Eames shell chairs and Saarinen Tulip table.

Louise Campbell, Prince chair, 2001.

John Campbell’s Leisure House, Mill Valley , California, 1953 / Photo Courtesy of Princeton Architectural Press Spawned by postwar affluence, A-frame cabins became the quintessential American vacation home of the 1950s and 60s. A look at what made these icons of middle-class leisure immensely popular then, and what it is like to remodel and live in one today.

From this high activity area, you move to “the little bedrooms”, which is really a large room full of beds where curtains can be drawn to separate one from the other. “I love a good sofa but there is nothing more inviting in the world than a bed with soft accessories and duvets in soft linens and upholstery. In this house you can fall asleep anywhere, and you can invite 40 for dinner and they can all sleep over,” says Campbell.

The floor tile is from Virginia Tile, while the wall tile is from Daltile.

See Arch replaced many of the original single-pane wood windows with new thermally broken aluminum windows. They also painted the exterior.