AD Architecture Classics: The Latest Architecture and News

Buildings, perhaps unlike any other art form or edifice, have a capacity to influence or become part of a place's cultural identity and history. Defining an architectural monument is, however, an ambiguous exercise – most of their ilk only reach this status years after completion. AD Classics are ArchDaily's continually updated collection of longer-form building studies of the world's most significant architectural projects. Here we've assembled five structures and buildings which, often aside from original intentions, embody that most ephemeral feeling: a sense of progress.

Although societies have transformed through the ages, wealth never truly seems to go out of style. That said, the manner in which it is expressed continually adapts to each successive cultural epoch. As a consequence of evolving social mores and emerging technologies, the ideal of “luxury” and “splendour” sees priorities shift from opulence to subtlety, from tradition to innovation, and from visual ornamentation to physical comfort.

AD Classics are ArchDaily's continually updated collection of longer-form building studies of the world's most significant architectural projects. In these ten examples of "high-end" residences, which represent centuries of history across three separate continents, the ever-changing nature of status, power and fine living is revealed.

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Sitting on the northern bank of Venice's Grand Canal is a great house whose ornately carved marble facade only hints at its original splendor. The Palazzo Santa Sofia—or the Ca D’Oro (House of Gold), as it is also known—is one of the most notable examples of late Venetian Gothic architecture, which combined the existing threads of Gothic, Moorish, and Byzantine architecture into a unique aesthetic that symbolized the Venetian Republic’s cosmopolitan mercantile empire. Built to serve as the grand residence of wealthy Venetian businessman and politician Marin Contarini, the palazzo has seen a number of owners and renovations over its lifetime before ultimately coming to serve as a museum for medieval painting and sculpture.[1]

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Happy Fourth of July! In recognition of Independence Day in the United States, ArchDaily has assembled six of our favorite "American Classics." Featuring projects by Louis Kahn, Mies van der Rohe, Richard Neutra, Paul Rudolph, Eero Saarinen, and Richard Meier, each of these canonical works occupies a prominent place in twentieth-century American architecture. See them all after the break.

As one of the most ubiquitous forms of construction, it can sometimes be easy to overlook the humble brick. However, this prosaic building method can also be one of the most versatile materials available to architects, thanks to the experimentation of countless architects who, for centuries, have worked to create new forms of expression with the simple material. In this round up, we celebrate architects who, with their architectural classics, have expanded the possibilities of brick craft: Antoni Gaudí's fantastical vaulting at Colònia Güell and Alvar Aalto's experimental brick patterning at his house in Muuratsalo; the powerful brick piers of Kevin Roche and John Dinkeloo's Knights of Columbus Building and the Catalan vaults of Porro, Garatti and Gattardi's National Arts School of Cuba; and finally, what brick round up would be complete without the brick-whisperer himself - Louis Kahn and his all-brick fortress for the Indian Institute of Management.

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American architect and Prizker Prize winner Philip Johnson - who would have turned 107 today - is well known for his contributions to 20th century architecture, from the modernist Glass House in 1949 to his later infamous post modernist AT&T building in 1984. But did you know that Johnson designed a brutalistic nuclear plant in Israel? More on this monolithic concrete structure after the break...

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In the commune of Bazoches-sur-Guyonnes, about 40 kilometers southwest of Paris, sits one of the most important private houses designed by Alvar Aalto: Maison Louis Carré. The client, Louis Carré, was a prominent French art dealer who was also very interested in architecture. He desired a house that would be able to accommodate many guests for art viewings, but also incorporated a private component. He commissioned Aalto to design his house in 1956, and Louis Carré and his wife, Olga, were able to move into their new home three years later.

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The Marin County Civic Center was Frank Lloyd Wright's last commission and largest public project, including several civic functions that would serve Marin County and San Francisco, which after the opening of the Golden Gate Bridge became closer than ever. Wright was selected for the project in 1957, winning a vote out of hope he would be able to best represent a democratic government open to the people through the Civic Center.

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