Palmas 555 is a building that stands out in the urban landscape of Mexico City due to its special volumetry and innovative design. This corporate office building was designed and constructed by Juan Sordo Madaleno together with José Adolfo Wiechers and José Ignacio de Abiega as Associate Architects in 1975.
Every architectural project is the result of deliberate choices. Beyond form and function, buildings embody technical, political, and cultural decisions that shape their relationship with both their surroundings and the people who inhabit them. ArchDaily’s AD Narratives series explores these processes by bringing together accounts that trace projects from initial conception to built realization. In parallel, the AD Classics series turns to works of historical significance, presenting not only the stories behind these buildings but also technical drawings that allow for a deeper, more informed reading of their architecture.
Since 1895, the Venice Biennale has invited the world to witness the evolving landscape of contemporary art. In 1980, the event expanded its reach with the launch of the Architecture Biennale, which quickly became one of the discipline’s most influential global platforms. Today, alternating annually between contemporary art and architecture, the Biennale affirms itself as a space where disciplines and ideas intersect. Always timely and provocative, it fuels essential debates on the role of art and architecture in the contemporary world. Among its most recent editions are the 17th Architecture Biennale, themed How Will We Live Together? (2021), curated by Hashim Sarkis; The Laboratory of the Future (2023), by Lesley Lokko; and Intelligens. Natural. Artificial. Collective (2025), curated by Carlo Ratti and open to the public until the end of November.
In the history of modern architecture, Louis I. Kahn is regarded as the undisputed master of monumentality in the United States. At the height of his career, Kahn managed to create a unique type of architecture, often awe-inspiring, but avoiding overdone grandiosity, expressing its constructive system, yet avoiding structural exhibitionism, steeped in history but developed with a new language and system of forms. His interest in light as a functional element and the specific qualities of materials extended beyond his buildings, in all the objects he created to populate them following their intrinsic spirit. To celebrate this legacy, Form Portfolios has now launched "Monumental Modernism," the first collection of lighting, objects, and furniture modeled after those discovered in Louis I. Kahn's buildings.
The first edition of the Venice Architecture Biennale took place in 1980, immediately revealing its role as a platform for images and ideas that would become essential references in contemporary architectural theory and practice. This disruptive character was embodied from the very beginning by the strangely familiar floating structure designed by Aldo Rossi, titled Teatro del Mondo. At once temporary and archetypal, the project introduced central themes that would shape Italian architectural discourse in the years that followed. To this day, it continues to inspire reflections on timelessness, imagination, and the memory embedded in cities.
As a result of the ideas competition organized by the governments of Sweden, Finland, and Norway in 1958, Sverre Fehn's Nordic Pavilion won first prize, becoming one of the most significant works of his career and one of the most outstanding Scandinavian architectural achievements during the mid-20th century. Designed to create a space at the Venice Biennale for the biennial exhibitions of these countries, Fehn's proposal addressed several key architectural challenges—ranging from its integration with the site and incorporation of pre-existing elements to the handling of physical boundaries and uniform natural lighting. His design explored the interaction between architecture and trees, the flexibility in the exhibition space, the filtering of light, the connection between interior and exterior, the concept of movement through space, and the display of artworks.
In Tokyo's bustling Ginza district, where tradition and modernity converge, the Maison Hermès emerges as a luminous architectural icon. Designed by Renzo Piano Building Workshop and completed in 2001, the 15-story structure serves as the Japanese headquarters of Hermès, the renowned French luxury brand celebrated for its craftsmanship and timeless elegance. Beyond its function as a commercial hub, the building encapsulates Hermès' ethos, transforming its urban site into a dialogue between light, materiality, and context.
Located on the top of the Boa Viagem viewpoint in the city of Niterói, the Niterói Contemporary Art Museum - MAC was designed by architect Oscar Niemeyer. Inaugurated in 1996, it is a modern architectural masterpiece dedicated to housing a collection of Brazilian contemporary art from the 1960s to the 1990s. Rising above the cliff like a lighthouse, it appears to float in the air, resting on a water basin. Facing Rio de Janeiro’s Guanabara Bay in Brazil, its circular lines and revolutionary double-curved form stand out on the horizon, offering an open plaza of 2,500 square meters alongside a reflective pool that gives the structure a remarkable sense of lightness.
At the intersection of the inevitable influence of the international modern movement and Argentinian architectural tradition, the Grupo Austral emerges as a collective of architects proposing a reinterpretation of Le Corbusier's rationalism, adapting it to the particularities of the local context. In this framework, we can speak of an international architecture that is not merely incorporated but can be considered "appropriated" architecture, meaning it is rooted in Argentina's climatic conditions, lifestyles, and local materials. This leads us to question: How does European architecture correspond with the local? Is it the product of similar situations or a process of transferring architectural images, as has happened throughout history? Is it a mix of both factors? Can we talk about appropriated architecture?
Much of the production of modern architecture on the American continent was based on the model of European architects who, with their works, projected the fundamental premises and ideas for modern living. These pillars of architecture were transferred and consequently adapted to the American territory, introducing, at the same time, their own characteristics according to the territorial, socio-cultural and economic context.
We understand that good architecture is that which serves as a model for solving problems inherent to the discipline of architecture in general. This is why certain references that we consider today as "classics" are examples of good architectural practices that have been appropriated by other architects, taking the pertinent and necessary elements to achieve a result in accordance with the particular context.
In Beirut, a city marked by transformation, the Interdesign Building echoes the vision of an architect steadfast in his conviction. Designed by Lebanese architect Khalil Khouri in 1973 during a period of economic growth, the building took 23 years to build, a process halted by the onset of the Lebanese Civil War. By the time it was completed in 1996, the urban landscape that surrounded it had changed. The structure has stood largely unused since, as a relic of hopeful modernity. While its design is singular in its narrative and expression, this structure illustrates the tension between aspiration and struggle throughout its complex history.
In his latest photographic journey, Paul Clemence explores the architecture of the Aluminaire House in Palm Springs. The Aluminaire House Foundation has bestowed the house exhibit upon the Palm Springs Art Museum, joining its permanent collection. This architectural landmark, designed by Albert Frey and Lawrence Kocher is currently undergoing reconstruction in the south parking lot of the Museum. Hailed as an icon of modernist design, recently recognized by the Architectural Record as one of the most significant buildings completed worldwide in the past 125 years.
Republic Square in Ljubljana holds immense historical and symbolic significance for Slovenia. It is located in the historic center of the city and features a blend of buildings with different designs, scales, and dimensions, together with interconnected open spaces, passages, and underpasses. These elements form a multifunctional complex whose construction lasted more than 20 years and underwent several volumetric and programmatic reconfigurations. Visible from a distance and standing out above the Ursuline Church’s bell tower, two prominent office towers rise as part of this work designed by Edvard Ravnikar, the most prominent Slovenian architect of the second half of the 20th century.
Officials have just confirmed that Antonio Gaudi’s iconic Sagrada Família's final stage of construction has commenced, on track to be completed in 2026, 144 years after its establishment. The announcement was made last Wednesday, aligning with the centenary of the architect’s passing. According to the annual report, construction efforts have resumed, finalizing the Evangelists towers in November 2023. Additionally, active construction is ongoing for the Chapel of the Assumption and the tower dedicated to Jesus Christ, which are on track to be completed in 2025 and 2026, respectively. The towering 172.5-meter central spire is included in the project, planned to stand as the tallest edifice in Barcelona, Spain.
This article was originally published on Common Edge.
Recently I visited Pittsburgh for a fascinating hand-drawing conference at Carnegie Mellon’s superb school of architecture, which to my knowledge is not among the top 10 in U.S. News and World Report. I wonder why? The curriculum is cutting-edge, the faculty world-renowned, and the students well-grounded and talented. More people of color are in the design community at CMU than at Princeton, SCI-Arc, or Harvard.
From 1987 to 1993, architect Pablo Tomás Beitía set out to transform the former housing complex and rental houses of Argentine artist Alejandro Xul Solar into a museum. The goal was to create a new space that would adapt to exhibition requirements and engage in avant-garde dialogue with the pre-existing structure. Situated in the Palermo neighborhood within the Autonomous City of Buenos Aires, the Xul Solar Museum was designed to serve as a space for cultural encounters. The remodeling and expansion project was conceived by interpreting the artist's pictorial worldview, maintaining the facade intact, and embracing the painter's house with a new interior architecture.
On Avenida Corrientes, the Teatro Municipal General San Martín (TGSM) rises between party walls in the heart of downtown Buenos Aires. Designed by Mario Roberto Álvarez and Macedonio Oscar Ruiz in 1954, this building comes to address an artistic and cultural issue common to the large cities of America. It stands as one of Argentina's most important theaters, providing spaces for theatrical and cinematic performances as well as art exhibitions. Spanning 30,000 square meters, it constitutes a theater complex alongside the General San Martín Cultural Center, operating independently.
Where does the process of mythification of a work in architecture reside? What are the conditions inherently linked to the resource of memory? Firstly, the appearance of an intrinsic value within the architecture, such as highlighting the taste for the projected building. This would be accompanied by the historical factor—the echoes of the era in which it was built. If we add to all this a demolition loaded with theatricality and social drama, the building becomes something more, becoming part of the vast mythical territory of memory. Miguel Fisac's 'Pagoda,' which began construction in 1965, was demolished in just a few days in July 1999, being just over thirty years old at the time of its demolition.
Affectionately known as the 'Pagoda' by the people of Madrid, evidencing its similarity to Asian constructions, it was not held in the same esteem by the architects of the time. In the rise and fall of the JORBA Laboratories, the original name of the project, purely tragic elements converge: denunciations moved by religious conspiracies, neglect by the administrations, speculative businesses, professional jealousy, and rulers incapable of appreciating the quality of architecture that, today, becomes myth or martyr; the object of unjust destruction.
