Fuseproject, San Francisco, California

Don't worry if you aren't quite sure where to start. With this eight-step guide, your space will be sparkling in no time.

Spring cleaning is the perfect time to move larger appliances and heavier pieces of furniture to clean all the dirt, dust, and grime that is usually left unnoticed.

A simple, chic, elegant modern prefab open kitchen.

How to Talk to Contractors: Don’t get lost in building jargon when planning your latest project. Illustration by Blanca Gómez

This round table is made from solid white oak and hard maple.

Handmade Corian butterfly keys were used to join the two kinds of wood.

Flavin created minimalist sculptures using commercially available flourescent lights, like the 1977 piece seen here, called (In memory of Sandy Calder)V. Placed side by side, the two primary-colored compositions that comprise it recall the work of Alexander Calder. The bed at the end of the space, Single Bed #32 (Daybed), is one of Judd's furniture designs. 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

Pieces like untitled (to Bob and Pat Rohm) from 1969 were designed to interact directly with the architecture around them. Placed in the corner, some of the flourescent tubes shine light into the room, while others bounce it off the walls. 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

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

Book jacket for 101 Classic Cookbooks: 501 Classic Recipes, published by Rizzoli.

"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

The 510 Cabin is one of Leggitt's designs, executed with the help of student apprentices.

Wright, who teaches a course in visual literacy at Taliesin, works at a #101 dining table by Skovby.

Yves Béhar of Fuseproject.

On growing up in South Carolina and his first job: I had job opportunities when I was ten and thirteen...even if it [was] shelling beans. Even when I did that, I noticed that the store was busy. I remember the first phone call I made on a brand new phone we just got. It was back to that store. I said, "May I speak to the owner? I'm Lou. I'm one of the kids outside that helps you. I noticed you're very busy inside the store. Do you need some help? Can I work in the store?" He says, "What's your name again? If you are coming here tomorrow, come in and see me." Right away, I was working in the store. I remember taking over the vegetable area and the stock was selling out like crazy. He said, "What are you doing? Giving this stuff away?" I said, "No! I'm giving them a good deal, which they think they're getting." It's not the way I sell design services. It's just being at the right place at the right time and getting the opportunity and seizing the moment. I think that that's key. (Above: St. John’s University – 101 Astor Place, designed by The Switzer Group)

On moving from mail clerk to draftsman at an architecture firm: When I arrived here [New York City] in 1966, right out of high school, I started looking for a job in the architectural profession. The first three months, I worked in a supermarket. Every Monday I could go to the employment office to see what jobs were available. I got a job opportunity: "call Elizabeth Hambright at Sherburn Associates." They were looking for a mail room clerk. I said, "Perfect!" I took that job and within three months I got a tap on my shoulder. "I've [been] told you have a portfolio. Can you bring it in?" So I brought the work in, showed the guy who was the office manager. "These are your drawings?" he said. "Yeah." "You're sure these are your drawings?" he asked. "Of course they're my drawings!" "You did these drawings?!" he asked again. "Yes!" "Where?" he said. "High School". "They were teaching you this in High School?!" he said. "Yeah." "I'm promoting you to a draftsman. You're a draftsman now. Get someone to fill your spot." (Above: St. John’s University – 101 Astor Place, designed by The Switzer Group)

The cover of Murakami Versailles.

Pendant by Matthew Fairbank Design.

Clock by Ding3000 for Discipline.

The structure of the coop was inspired by the new bus shelters and newsstands in New York City.

The January 2005 edition of Dwell, featuring the Jawbone headset by Fuseproject.

Béhar and the fuseproject environments team designed the homes for the 3D-printed community project.

William Lamson's Solarium.

The aesthetics of both devices and the app to which they speak come from fuseproject, the design firm responsible for the Jawbone Jambox.

OLPC (One Laptop per Child) XOXO Laptop, prototype. Yves Béhar (Swiss, b. 1967) and Bret Recor (American, b. 1974), fuseproject; interaction design: Lisa Strausfield (American, b. 1964); concept: Nicholas Negroponte (American, b. 1943), One Laptop per Child (OLPC). United States, 2008. PC/ABS plastic, rubber. Photos: fuseproject

Dow designed the Dow 101 House in the 1930s and it's made largely of homasote board. When Dow Chemical was avidly courting a potential new hire, they'd put them and their spouse up in the 101 House in hopes of luring them to Midland.

Designer Yves Béhar is the founder of the San Francisco and New York-based industrial design and brand management firm Fuseproject, which has introduced dozens of award-winning products over the years.

Chair by Cattelan Italia. Chandelier by 101 Copenhagen, table lamp by Calligaris. Carpet by Bo Concept. The work desk, coffee tables, and built-in furniture are custom-made according to sketches from the Simple Interiors studio.