The glassy pavilion containing kitchen, dining, and living areas is elevated three feet off the ground on posts so it appears to hover among the dunes.

Quintessa Winery has a commitment to creating modern architecture that complements rather than competes with the landscape.

The Birch Pavilion sits atop a 14-by-26-foot platform composed of hemlock and pressure-treated timbers. Photo courtesy of Moskow Linn Architects.

As part of the Getty’s Pacific Standard Time Presents: Modern Architecture in L.A., LACMA features The Presence of the Past: Peter Zumthor Reconsiders LACMA, an exhibition about the proposed future of the museum's campus. Installation view, The Presence of the Past: Peter Zumthor reconsiders LACMA, June 9–September 15, 2013. Los Angeles County Museum of Art. Photo ©2013 Museum Associates/LACMA

"Pulling the buildings apart allows what is not a big house to feel really big," says architect Jonathan Feldman of the sustainable retirement home he built for a couple in California. "Because of the ways it opens up, it feels much more expansive than it really is."

But onto the real question: The pavilion is a definite delight to the eyes, but does it make the wine more tasty? “Absolutely!” Warner and McCabe assert. “Each pavilion is elegantly unobtrusive and offers a rustic yet refined experience evocative of picnicking with a bottle of wine under an oak tree. In this way, the pavilions serve to bring the visitor a greater depth of understanding and appreciation for the place where Quintessa is made and the process that creates its uniquely sophisticated character.”

Carefully selected materials make the building appear as if it grew from the land. Environmentally sensitive finishes echo the existing winery, which the firm designed in 2002.

The bedroom pavilion is mostly hidden, thanks to a massive native California oak—part of a grove. “That’s the good thing about oaks—they keep their leaves in the winter, so you don’t have one view in the summer and another in the winter,” Suzanne says.

A simple landmark in the midst of Rice University's carefully landscaped campus (another destination Robertson recommends), the Brochstein Pavilion was designed by architect Thomas Phifer and completed in 2007.

A trio of Djinn Chairs by French designer Olivier Mourgue from 2001: A Space Odyssey (1968), lay atop light boxes.

Outside view of the A Clockwork Orange (1971) section of the exhibition.

The Adler typewriter Jack Torrance (played by Jack Nicholson) used to type with.

A copy of MAD Magazine's "A Crockwork Lemon," June 1973.

A zoomed-in color slide from Lolita (1962), made possible by a sliding viewer.

Scribbles and edits on The Killing (1956) manuscript.

Upon walking into the exhibition, two films are projected side by side (seen here, Kubrick's 1980 horror classic, The Shining) in a big, dark room. Visitors can either sit and marvel or merely pass on by.

Memorabilia from Full Metal Jacket (1987), such as Gustav Hasford's The Short Timers, Kubrick's script notes, and Private Joker's original props.

Jack's famous repeated sentences actually first originated from 17th-century writer James Howell's Proverbs in English, Italian, French and Spanish (1659).

The director's career in film, in the form of posters, line the wall.

The infamous Grady Twins from The Shining (1980) look unfazed, as a small group of visitors focus on an exhibition reading.

The original Moonwatcher costume from 2001: A Space Odyssey (1968).

The original Spacesuit from 2001: A Space Odyssey (1968).

The original dresses and shoes of the Grady sisters.

Kubrick's wooden director's chair.

A reproduction mannequin of the Korova Milk Bar maid from A Clockwork Orange (1971).

A variety of different camera lenses used by the late director.

A reproduction model of the Discovery spaceship from 2001: A Space Odyssey (1968) floats above some of the film's memorabilia.

The research library containing 217 books for Napoleon, sadly one of several of the director's unrealized projects.

Production design sketches by John Barry for A Clockwork Orange (1971).

An animation by Andy Featherston plays inside David Bowman (played by Keir Dullea)'s original helmet from 2001: A Space Odyssey (1968).

A peek inside a reproduction model by Workshop Jörg Kallmeyer, Frankfurt am Main of the War Room featured in Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964).

The entrance to the exhibition, housed inside the Art of the Americas Building at the Los Angeles County Museum of Art.

A line-up of Sasco cards (filing cards assembled into a chart) for 2001: A Space Odyssey (1968).

Left and center: Original uniforms of French regimental soldiers and Right: Original costume of Barry Lyndon for Kubrick's period film, Barry Lyndon (1975).

The client's mother enjoys sitting in the concrete pavilion, where she can watch the activities of the house with a prime view.

A 24-by24-foot Cor-ten-clad pavilion tops the three-story addition.