It took 8,000 pounds of beryllium copper and 5,000 pounds of naval brass to produce the sculpture. Responding to the environment, the sculpture is activated by Chicago's notorious winds. The plaza was redesigned in 1994 and the sculpture was reconfigured and some portions removed.

“Just a token to remind me of my hometown of Cincinnati, Ohio—my brother even got married here! The Union Terminal is one of Cincinnati’s most important architectural statements—its Art Deco façade is stunning, and inside, there are incredible mosaic murals by German American artist Winold Reiss. This building stands as a tribute to Cincinnati’s transportation history.”

In the Danish House Illustration, Kristina Dam Studio celebrates Danish architect and designer Finn Juhl. A part of the “An Abstraction of FJ” series, this print is defined by its use of line, geometric details, and pattern. The series is based on multiple hand drawings she created while studying the work of Finn Juhl. Kristina Dam called to Juhl’s use of curved lines in his designs, which is clearly celebrated here in the House Print.

The house features several courtyards, conveying an ever-present sense of indoor-outdoor living. Concrete walls are lined with yellow jasmine, and the wall sculpture is taken from Manuel Felguérez’s fence for the National Anthropology Museum.

See for Yourself After painting the sitting room room Kendall Charcoal from Benjamin Moore’s Aura line, Neely wanted a sculptural element that would show up against the dark hue. So he assembled his white Algues set, designed by the Bouroullec brothers for Vitra, on the wall behind the sofa with pillow by Judy Ross. “Though the Bouroullec piece is manufactured in mass quantities, you can create your own take on it,” he says. “It looks great no matter how you place it. I think of it almost like an inkblot—the randomness is part of its beauty.”

The Balancing Barn in Suffolk: On the edge of a nature reserve a few miles from the Suffolk coast, the MVRDV-designed Balancing Barn cantilevers over the surrounding meadow.

A longtime collector of furniture and art, Dr. Robert Geller finally lives among his prized possessions. In the living room, he sits on a Barcelona chair by Mies van der Rohe for Knoll. To his right are an Arco floor lamp by Achille and Pier Giacomo Castiglioni for Flos and a BeoLab 5 speaker from Bang & Olufsen. The sculptures to Geller’s left and in the foreground are by American artist Arlene Shechet, Everything Seems to be Something Else and Just Remembered.

Brothers Robert and Gavin Paisley founded Chisel & Mouse to channel their passion for architecture by creating sculptures of iconic buildings. Each piece is made with plaster, which gives the sculpture weightiness and presence, as well as a cool, smooth finish. In its rendering of the Greyhound Bus Terminal in Washington, D.C., Chisel & Mouse captures the perfect symmetry of the building’s façade. The art deco building features vertical and horizontal straight lines, as well as rounded corners, which gives it a softer look. Explore more of Chisel & Mouse’s sculptures here.

The Standard Oil Sonambient sculptures are composed of rods ranging from four to 16 feet tall. At a June 2013 auction at Wright, fragments and maquettes of the sculpture sold for $12,500 to $374,500. "No other works in Bertoia's extensive oeuvre match the impressive scale of the Sonambients for the Standard Oil Commission," stated the catalog.

Other artists represented in the park include Lynn Chadwick, Tony Cragg, Sarah Sze, and Matt Johnson. But what makes this garden most compelling? The way the art practically disappears into the sprawling landscape of green meadows and Nordic pines.

New interior finishes, furniture, and a guesthouse were part of the restoration/renovation of John Lautner's Chemosphere, a 1960s house that makes frequent cameos in film and television.

An Alexander Calder sculpture at the Frederick R. Weisman Art Museum.

Peace No. 2, from 2001, is the earliest work in the exhibition. Zhang designed it while living in New York and sent instructions back to China, where it was fabricated. This 20-foot-tall bronze sculpture comprises of a gold-leaf replica of Zhang’s body dangling from the center of a traditional Buddhist bell. Image courtesy of Pace Gallery.

1913 Boccioni completes his sculpture Unique Forms of Continuity in Space.

Frieze sculpture garden featuring (L-R) Pollux by Tomas Saraceno, figurative sculpture by Jaume Plensa, and Jeppe Hein’s “Geometric Mirror I.”

Zhang Huan explains that the idea behind "Three Legged Buddha" was juxtaposing "two forces, one from heaven, one from earth, merging them together, but also putting them together as opposite forces." Storm King Art Center, gift of Zhang Huan and Pace Gallery. Photo: Jerry L. Thompson, © Zhang Huan Studio, courtesy Pace Gallery.

Zhang's "Three Legged Buddha" towers over the surrounding landscape. Photo: Jerry L. Thompson, © Zhang Huan Studio, courtesy Pace Gallery.

Tracy Beckmann and Ryan Trowbridge spent four years shopping for furnishings, fixtures, and lighting to outfit the guest rooms, sourcing steel hardware in Hong Kong, vintage lighting in Italy and France, and many mid-century pieces in their backyard, aka Palm Springs’s renowned vintage shops.

A vibrant walkway traverses the shoreline and connects open park land, wetlands, and bird habitat.

"When distilled to its essence, buildings have the essential issue of walls," Bailey says. "Knowing this, we then deploy the wall in a way that heightens the experience we nominate."

The Asmundur Sveinsson Collection is worth visiting for the architecture as much as the sculpture.

Finds included Bertoia barstools, a J. Wade Beam coffee table, and a chrome Thonet-inspired chair in Unit One and a Warren Platner coffee table and chair in Unit Four.

Each of the four units has a private patio.

The open observatory.

Choosing not to make a big to-do of itself, this cottage blends in with its surroundings. A wall of glass on one end allows a merger of the outdoors with the interiors, while white trim leaves the appearance of a snow-kissed façade year-round. Berlin, Germany. By Atelier st Gesellschaft von Architekten mbH from the book Rock the Shack, Copyright Gestalten 2013.

Art House 2.0 Interior: Stairway, Sculpture Garden

Transformer or beach hut? Positioned in a coastal erosion zone, this holiday retreat for a family of five is completely capable of being relocated. An oversized shutter allows for protection from the elements when not in use and opens to allow sun in during the winter or provide shade on hot summer days. Waikato, New Zealand. By Crosson Clarke Carnachan Architects, from the book Rock the Shack, Copyright Gestalten 2013.

Resident Misha Bukowski plays with young Zachary in the walkway between the renovated buildings. The new units are clad in stained local cedar.

To maximize guests’ experience of Lautner’s legendary approach to daylight, Beckmann and Trowbridge forewent blinds or curtains on the windows and glazed walls, offering guests sleeping masks instead.

The ever-changing, lush wooded surroundings of Minnesota, such as those experienced at this 8,000-square-foot Type Variant House outside of Minneapolis designed by Coen and Partners, are right near the small town of New Richland.

The eat-in kitchen features poured-in-place concrete countertops and redwood wall paneling.

The deck offers views and a quiet spot for outdoor dining. The Western red cedar vertical siding is naturally resistant to rot and decay, making it a hardy choice for the exterior. The bronze wolf sculpture is by Sharon Loper.

"From the southern approach, you head toward a tunnel; every step tells you that you know what you are going to experience and then suddenly upon arrival, there is an enormous wall of red glass—it seems incomprehensible that you did not know it was there all along," Bailey says.

“Your first impression is that the house is very closed,” says David Barragán of the building he designed with Jose María Sáez in Quito, Ecuador. Stacked concrete forms, developed by Barragán and Sáez and used as planters along the front facade, offer privacy and integrate the building with the site.

"Our role as architects is to produce architecture for a given place," Bailey says. The park highlights certain elements of the park and makes miles of the shoreline accessible to pedestrains and cyclists.

“We think of architecture as a tool that manipulates human perception,” Bailey says. He uses the opaque portions of the building to block the least essential elements of the vista, framing the northern exposure with vibrant crimson glass.