Like his mentor Frank Lloyd Wright, Fay Jones received the American Institute of Architects (AIA) Gold Medal for his exquisite body of work, which includes his masterpiece, Thorncrown Chapel. Jones designed and built private homes and sacred spaces almost exclusively, always based on the tenets of organic architecture. Here are five of the most compelling.

Fay and Gus Jones House, Fayetteville, 1956

“There’s more architecture per square foot than any house I can think of,” said Greg Herman, associate professor, Fay Jones School of Architecture, University of Arkansas. “He takes this footprint, which is really just a rectangle, and changes the way you understand it with layers and elements moving around and shifting so that, in the end, you get a rich environment.”

Jones explored his architectural philosophies in his family home, the first of more than 200 residences he designed. One of the driving principles of organic architecture is fidelity to nature, and that became necessity as much as choice here. While excavating for the home, the builders uncovered a rock ledge and hidden spring. In keeping with Wright’s insistence that organic architecture should arise as a natural solution to the problem presented, Jones integrated the boulder into the living space.

Upstairs, the home transforms into a treehouse with a low central stone hearth. Jones selected a lot adjacent to a wooded area and situated the house with the main façade facing west. A balcony and windows offer sweeping views in every direction and let the sun light all the main interior spaces throughout the day, a theme repeated in many other Jones structures.

“You can pretty much find everything he did subsequently in this house in some form,” Herman said.

The Jones House was listed on the National Register of Historic Places in 2000 and is documented in the Historic American Buildings Survey, winning the Charles E. Peterson Prize in 2010.

Richard and Alma Brothers House, Fayetteville, 1957

“Fay liked to approach every project fresh, with a renewed, introspective quality based on the knowledge of how materials go together. There’s an honesty to the craft,” said David McKee, principal of McKee Architects and Jones’ apprentice and associate for 16 years.

Early in his career, Jones began designing homes for University of Arkansas faculty, including music professors Richard and Alma Brothers. The Brothers’ budget was conservative, leading to a model based on Wright’s Usonian homes and unique in Jones’ work. Usonian homes center on three primary areas—a living space, open kitchen and dining, and small bedrooms and baths. The sophisticated yet simple floor plan for this home is defined by openness, flow and connectedness with the exterior.

Some elements reappear in later Jones designs—the ridge beam pulled off-center and floor-to-ceiling windows and glass doors that frame expansive views. Panes of glass precisely butted together at the corners let the eye take in the nearby woodland uninterrupted by structural elements. The rectangular hip and gable roof follows the strike of the ridgeline and features a jackknife edge with dentil modeling that’s repeated indoors in the cupboards, countertops and built-in seating that Jones designed.

McKee remains passionate about preserving Jones’ legacy and, in 2021, became the force behind restoring the Brothers House. The city of Fayetteville recently recognized McKee Properties with the 2024 Historic Restoration Award for their meticulous work. Two University of Arkansas students documented the home for the Historic American Buildings Survey in 2022, winning an honorable mention for the Leicester B. Holland Prize. The Brothers House is now open to short-term residents eager to experience a mid-century masterpiece.

Faubus House, Huntsville, 1967

“He was all about bringing the indoors out and the outdoors in,” said Ronna Precure, steward of Faubus House. “We have quite an extensive area of terraces. When you add that square footage, designed for entertaining and living, we’re over 13,000 square feet.”

The home’s interior spreads out more than 7,356 square feet, making it the largest residence Jones designed. But that’s fitting for a house intended as much for lavish entertaining during Orval Faubus’ unsuccessful run for the Senate as it was for private living—which also explains why the home features four ovens but only three bedrooms.

Both famous and infamous, Faubus served as Arkansas governor from 1955 to 1967, longer than any other person. Although progressive in some ways, he’s remembered for attempting to block the desegregation of Little Rock’s Central High School in 1957, forcing President Dwight D. Eisenhower to send federal troops to enforce the U.S. Supreme Court’s ruling.

This home built for him a decade later extends 214 feet along a bluff, with landscape clearly inspiring form. The home’s most iconic element—a 30-foot cantilevered catwalk—offers the drama of a stroll out over the rocky cliff and into the treetops. Vertical elements like stone columns, apertures and panels draw the eye upward to the three massive chimney stacks perched on the roof.

The current owner, Jonathan Formanek, purchased the home in 1995 and intends for it to remain open to visitors. In recognition of Jones’ architecture, Faubus House was listed on the National Register of Historic Places in 2019.

Thorncrown Chapel, Eureka Springs, 1980

“A Thin Place” is how C. Page Highfill, AIA Emeritus, described Thorncrown—meaning a place where the distance between heaven and earth collapses. That may be exactly what California schoolteacher Jim Reed envisioned when he asked Jones to design a little glass chapel on his wooded property to inspire visitors.

Although they originally chose an exposed location near the highway, Reed found a natural stone altar hidden in the trees, with rock formations to the right and spectacular woods on the left. Here, like nowhere else, Jones could realize the principle of unity between building and site. “In the end, you hope it will look like man and nature planned the building together to the mutual benefit of both,” Jones said.

The lack of a road meant no structural element could be larger than what two men could carry, so pressure-treated Southern pine 2x4s, 2x6s and 2x12s served as the primary materials. Where these humble pieces of lumber intersect, they form the chapel’s most striking element—hundreds of diamond-shaped apertures that radiate pure light.

Inspired by Paris’ light-filled Sainte-Chapelle, the chapel rises 48 feet toward the skies with more than 6,000 square feet of glass and 425 windows. Jones referred to the style of Thorncrown as “Ozark Gothic” and himself as a “cathedral builder born 500 years too late.” Although Jones and Reed doubted that anyone would visit Thorncrown, 7 million people have made the pilgrimage to date.

The AIA recognized Jones’ masterwork with a National Honor Award almost as soon as it was built and named it fourth on their list of top structures of the 20^th century. Thorncrown Chapel was listed on the National Register of Historic Places in 2000.

Mildred B. Cooper Memorial Chapel, Bella Vista, 1989

“I do not pretend to understand the creative process—but, sometimes, in that time of searching, by concentrating with great intensity on some obscure part or small detail, a vast landscape of order and continuity can be illuminated.” — From the writings of Fay Jones shared at the Jones House.

The Cooper family asked Jones, working with partner Maurice Jennings, to design a chapel to honor Mildred Cooper and her deep spiritual beliefs and great love and respect for nature. In the Cooper Chapel, Jones’ “small details” repeat themselves endlessly, with each part relating to the whole—from the door handles to the heavy wooden doors to the interwoven lathes emanating from them and pointing to the circular “rose” window above. Trading the lumber of Thorncrown for the strength of 31 tons of slender steel sheathed in redwood lets 15 pointed arches traverse the structure, creating a harmonious whole that rises 50 feet.

The chapel stands on a wooded hillside overlooking Lake Norwood. The 4,460 square feet of glass offers clear views of the outdoors and leaves visitors wondering if the chapel is open to the air. The similarities to Thorncrown are undeniable, and Jones once again produced an “instrument nature can play,” as he described it in “The Generative Idea.”

The Cooper Memorial Chapel was named to the Arkansas Registry of Scenic Resources in 1993.

Since the century started, US ski areas have come up $5 billion short due to climate change, according to a study in Current Issues in Tourism. Ski seasons now run five to seven days shorter than in the glory years of 1960-1979—and the season could shrink even more depending on the pace of global emissions reductions. The result is increased snowmaking costs and decreased revenues from lift tickets, goods and services. The poor conditions for snow from the sky also make snow from machines less than satisfying for skiers paying exorbitant prices.

The solutions for skiers and snowboarders remain limited. They can either travel to higher elevations and latitudes, turn to other mountain sports or go inside. With Ski Dubai making desert skiing an attraction, the last option isn’t so far-fetched.

Worldwide, the number of indoor ski resorts has grown to 124, from Gensler-designed Big SNOW at the American Dream mall in New Jersey to 10 Design’s Huafa Snow World set for a 2025 launch in Shenzhen, China. Now, Australia is inching closer to offering its own indoor ski area. Winter Sports World (WSW) in Penrith, west of Sydney, recently hurdled a major challenge, gaining approval for its State Significant Development Application (SSDA).

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But how do these giant coolers stack up when it comes to the climate change issues that have led to the need to move indoors in the first place? Let’s look closer at Australia’s entry to see how WSW hopes to integrate sustainability and reduce environmental issues that could impact the continent’s alfresco ski resorts.

Architecture inspired by snow

The $400 million complex, envisioned and developed by lifetime Penrith resident Peter Magnisalis, will include a 300-meter (984-foot) advanced open run, learn-to-ski hills, a snow play area, ice climbing and crevasse rock climbing, a 4.5-star 170-room hotel with conference and function rooms, and restaurants and cafes with slopeside views.

“Australia has a limited snow climate, which is expensive, unpredictable and hard to get to,” Magnisalis said. “Our vision is to have an indoor snow resort located within easy reach of Western Sydney that can offer perfect snow and weather every day of the year.”

Dubbed the “Giant Esky” by locals, the alpine façade designed by boutique firm Collins & Turner was inspired by the “shimmering, ephemeral, kinetic energy of snow clouds above a hill,” according to architect Huw Turner. By integrating night lights to conjure ice shards, the façade evokes a blizzard, while the public area and curved lower-level façade conjure melting ice.

The undulating landscape will feature streams, pathways and plantings. Large 8-meter-high (26-foot) message sticks will mimic melting ice and mountains telling stories of the First Nations people and how they lived on the Dyarubbin (Nepean) River. The latter realizes one of the WSW sustainability themes—a place that celebrates the enduring spirit of country and the longstanding connections of Aboriginal people to this place.

Other themes included in the Ecologically Sustainable Development (ESD) report produced by Atelier Ten, environmental design consultants for the project, include climate action, water conscious, circular economy, biodiverse habitat and welcoming and inclusive. They provide direction for specific targets and design initiatives intended to promote sustainable development.

Sustainability demands of a cooler

The “About Us” on the WSW website states, “We’re proud that we’ll be delivering exceptional sustainability outcomes and meeting top green building benchmarks by applying best practice principles of Environmentally Sustainable Development and responding directly to the local environmental challenges of Penrith and Western Sydney.” The promised outcomes include a facility that is net zero carbon ready, resource efficient, resilient, future climate ready and nature positive.

A significant challenge arises from the need for an energy-efficient environment that keeps heat out and cold in. A well-insulated snow box will be critical to keeping snow in the best condition, reducing snowmaking frequency and minimizing associated energy and water use. WSW will rely on thermal mass to regulate internal temperature.

To meet some of the energy demand, the facility plans to use onsite renewable generation from photovoltaic panels on the roof and daily green energy purchases. “We are confident that the solar panels will cater for up to approximately 60% of the electric energy needs for snowmaking,” Magnisalis said.

Likewise, snowmaking requires water, which WSW plans to collect from the facility’s roof, with snow and ice melt filtered and captured into a grey water tank for irrigation, toilet flushing and other non-potable uses. WSW estimates the water required for the initial ramp-up for snowmaking is 2.5 million liters, around the size of an Olympic swimming pool. Builders will connect a 1.6-million-liter tank to the roof as soon as possible during construction to take advantage of rainfall. Within the snow box, the facility will capture condensation and defrost water and reuse it for snowmaking.

Turning aspirations into actualities

WSW states that the facility has been designed to be net-zero carbon ready by “reducing embodied carbon; eliminating fossil fuel use on-site; minimizing energy use; supplying energy with onsite renewable sources; buying green power for remaining energy needs; and offsetting remaining emissions.”

However, Magnisalis deferred questions about the net zero carbon elements pending completion of the detailed design development phase. Still, he said, “We are confident in achieving these benchmarks.”

That said, in the Atelier Ten ESD report for WSW, the firm made clear “it is imperative that sustainability objectives are backed up by an approach to assurance that gives absolute confidence that the claimed outcomes will be achieved.” The firm said the framework should provide independent review, transparent methodology and accountability at each phase of the lifecycle.

Atelier Ten suggested WSW target a 5-star Green Star Buildings rating for the project, a holistic tool for new buildings and major refurbishments in Australia. As part of the SSDA, Atelier Ten included a building appraisal in the ESD report to demonstrate how WSW can achieve a 5-star rating.

It remains to be seen how environmentally sensitive the facility will actually be when built and operating. But as the project evolves, WSW has an opportunity to meet ambitious goals and demonstrate that this indoor ski model doesn’t contribute to the conditions that made heading indoors intriguing in the first place.

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Detroit has always been on the cutting edge of design. In the city’s golden age, it was the home of revolutions in industrial construction and materials design. Now, amid its much-lauded urban revival, Detroit has once more become known for its importance in the world of design.

As part of its designation as a UNESCO City of Design, Detroit’s robust community of architects, artists and builders are working together to revitalize the creative life of the city and many of the spectacular buildings created when industry in the area was at its peak. They’re doing it with the help and support of Design Core Detroit, an organization co-run by Kiana Wenzell and Bonnie Fahoome that uses the language of design to build a more creative city.

Bringing industry and creativity together

“Design Core was founded in 2011 by the College for Creative Studies and Business Leaders of Michigan,” said Wenzell, explaining that the group had identified the design and creative industries as essential for helping Michigan become a top 10 state.

According to Wenzell, Design Core’s mission is to establish the city as a creative capital using three major strategies: its business programs department, which offers coaching and education to designers; the Detroit Month of Design, which highlights the latest work and ideas coming out of the city; and the city’s designation as a UNESCO City of Design.

“With these three main strategies, we’re able to have that hyper-local impact with global influence for our city,” Wenzell said.

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Fahoome emphasized the importance of the group’s work with UNESCO. “As the stewards of the City of Design designation, we are involved in projects that uplift and support the work of not only architects who are obviously doing buildings and adaptive reuse and other kinds of things, but we also uplift projects that are driven by community residents and problem solvers, activists and leaders in their community,” she said.

These leaders are working to recapture lost spaces within the city and make them productive and vibrant places. “They are stewarding either vacant or underutilized land for purposes that solve neighborhood challenges or social issues within their communities,”  Fahoome said.

DDC supports this work through a program called the Detroit City of Design Challenge.

Building a more equitable city

The idea of inclusive design is central to Detroit Design Core’s mission. “We very strongly believe in the practice and process of inclusive design, meaning truly authentic, participatory, co-created buildings and spaces,” Fahoome said. “We’re advocating for a very participatory co-created process.”

The group has a guide for developers to help them build to create the best outcomes and greatest impacts within the Detroit community, which Fahoome said attempts to outline a more responsive, community-focused approach to rebuilding the city.

“You can’t just come into a neighborhood and just cannonball in with your project idea and then wonder why it hasn’t been well received or that you have an impact that gentrifies or destroys the community that was already there,” she said. “It’s not for us to go into the neighborhood and say, for example, ‘This is what we think the future of mobility looks like.’”

Instead, the DDC helps support developers as they create projects that respond to community needs, such as a shared membership supported auto shop currently in the construction process. “The way that we’re thinking about land use and urban redevelopment is to ask the people who live there, because nobody knows better than they do what’s needed and what’s going to work and why it’s important for their community,” Fahoome said.

Wenzell said one of the most unique types of projects the group supports are adaptive reuse projects, which help communities preserve beloved historic structures and reimagine them as functional spaces.

“I would say with Detroit, as far as the built environment, the biggest thing is breathing new life into the wonderful infrastructure that we have from the 1920s and 1930s when Detroit was Paris of the Midwest,” she said. “One of the biggest ones is the Book Depository building, which is a co-working space for people working in mobility in advanced technology,” Wenzell explained. “We also had Detroit Fiber Club, which took an old convent where nuns would stay and they turned it into an artist’s residency. So I would say that’s the biggest story coming out of Detroit right now.”

Wezell emphasized that all these projects needed to be grounded in the community. “Design Core is about collaboration, so we believe in interdisciplinary teams and working on design projects involving community, policy figures, other business owners on your projects,” she said. “City of Design is about exchanging, design exchanges with the other UNESCO city, working on projects together, talking about sharing people’s practices.”

A design-focused future

For both Fahoome and Wenzell, inclusive design is at the center of their vision of a better future for Detroit.

“We are doing big work,” Fahoome said. “We’ve developed a very robust, inclusive design curriculum to train more people in more different areas, more nonprofits, more community leaders, more activists, more residents, more faculty, more administrators, more city government officials. If everyone is trained in the tools of inclusive design and begins to understand how adding those tools to the toolbox of their everyday work,then the results of the work that happen are going to be for everyone.”

Wenzell agrees. “One thing that we’re really working on is our Inclusive Design Training program,” she said, which seeks to help participants understand their own identities and how it intersects with the identities and experiences with other people on their team.

“The second one is just continuing building the Month of Design. That collaboration and cross-disciplinary stuff is so important for our future, and I feel like the festival is really helping with that,” Wenzell said. “Ten years from now, I hope that inclusive design is a normalized practice, the festival is a go-to place for education and business development, and that residents of Detroit, no matter where they are in their professional stage, feel like there’s a place for them to practice design in the city. If 10 years from now the average Detroit resident can say, ‘My quality of life is better than it was 10 years ago,’ then that would be a win.”

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It doesn’t take an advanced education to appreciate that the more pleasant one’s surroundings, the better one is likely to feel. Keep a large animal in a small enclosure and it will soon become lacklustre, miserable and depressed, its enthusiasm for living diminished; allow it to roam, climb, fly freely, swim, browse or hunt, and it will flourish.  

It’s the same with human beings. Living in cramped conditions, with little natural light or ventilation, will sink a person’s spirits and ultimately impact their physical and mental health. One only needs to read about the conversion of certain warehouses or offices into blocks of apartments to realise the unsuitability of such buildings as places where people would expect to be able to live a healthy life.  

Similarly, working in an office or factory where space is limited, natural light is scarce or good ventilation absent will not be conducive to good health, never mind the impact on productivity. 

Taking care of one’s mental and physical well-being is an accepted part of living nowadays, and designing and delivering buildings that actively promote the welfare of occupiers is the goal of a growing number of architects and developers. 

Healing and Wellness Architecture 

This approach is not limited to homes and workplaces; hospital patients benefit from being treated in space that is designed to respond to the stresses of being ill or during recuperation from a surgical or other procedure. 

Schools can also get the best out of pupils if the buildings are designed to be more in harmony with their students and use a high proportion of natural materials in their construction, often labelled biophilic architecture.  

What Is Wellness Architecture? 

According to the Global Wellness Institute, “wellness architecture” is the practice of architecture “that relies on the art and science of designing built environments with socially conscious systems and materials to promote the harmonious balance between physical, emotional, cognitive and spiritual well-being while regenerating the natural environment.”  

Human health, well-being and comfort, the institute goes on, “are key design considerations that augment a foundation rooted in sustainable and regenerative design practices.” 

What Is Healing Architecture? 

The institute also highlights “healing architecture,” which it says, “focuses on minimising health hazards by implementing design strategies that increase industrial hygiene, air filtration, water sanitation and so on.”  

The WELL Building Standard 

The construction industry has embraced the concept of wellness architecture through programmes such as the WELL building standard, driven in part by demand from office tenants whose staff are increasingly calling the shots when it comes to the sort of accommodation they want to work in. 

The people behind the WELL standard argue that companies have an opportunity to create and foster a culture of health, “one where employees and customers feel genuinely cared for, motivated, supported and able to perform their best. People in these environments bring good vibes and healthy habits home with them, creating stronger relationships and communities.” 

According to Nili Portugali, an architect and lecturer at the Bezalel Academy of Arts & Design Architectural Department, Jerusalem, “the real challenge of current architectural practice is to make the best use of the potential inherent in the modern technological age we live in, while fulfilling the timeless needs common to us all as human beings—needs that modern architecture in general has knowingly denied for the past 60 years, in order to create a friendly and human environment.” 

Beyond filigree-free architectural types such as modernism and brutalism—both of which have their fervent advocates—the argument that a “friendly and human environment” is better for us is hard to dispute. One’s quality of life can be improved by spending time in space, which is designed to create a sense of well-being.  

The Holistic Surroundings of Wellness Architecture  

As mentioned above, healthy architecture can play a vital role when one is undergoing life-supporting medical treatment. Take the Maggie’s Centre network, which provides care for cancer sufferers. 

Founded by Maggie Keswick Jencks, herself a cancer sufferer, more than 30 Maggie’s Centres are located near hospitals across the U.K., providing a range of support services for those with cancer and their families. Crucially, they do this in buildings that are specifically designed from a healing architecture perspective, to help alleviate the stress of undergoing treatment. 

As the centre’s architectural brief puts it: “These places should look as if they are acknowledging what people are going through, saluting the magnitude of the challenge they are facing and themselves rising to the challenge of trying to help. [The centres] should be beautiful.” 

The brief adds that Maggie’s Centre buildings must be able to coax people out of their feeling of isolation and to help them feel less locked in. “We need spaces that make it easy for people to talk to each other and to feel less alone. We need to think about the degree to which people want to be private, to offer them corners to tuck up in with a book, but also places where they can sit and watch, but not necessarily join in.”  

Architects who have designed Maggie’s Centres include Frank Gehry, Zaha Hadid and Rogers Stirk Harbour + Partners, whose design for one of the organisation’s centres, adjacent to Charing Cross Hospital in west London, won the prestigious Stirling Prize in 2009. 

Maggie’s Centres have been in the vanguard of developing buildings from healing and wellness architecture that create a sense of calm and well-being for their occupants. With more awareness around the benefits of healthy built environments, we are likely to see many others follow their lead. 

The case for biophilic design

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Consensus on a building’s design may be hard to find, but there are buildings that are universally considered to be among the world’s most beautiful constructions.

Lesser buildings may toil in anonymity, and even fewer gain fame as some of the world’s ugliest buildings. Here are the short biographies of three such buildings.

Baltimore’s Mechanic Theater (1967 – 2015)

In 1967, the Morris A. Mechanic Theater stood as the bold and innovative architectural heart of Charles Center, the city’s newest business district developed as part of a larger revitalization project.

The Mechanic was designed by architect John M. Johansen. The theme of the Charles Center renewal was the “monumental city,” which was manifested by the theater through its Brutalist style. The theater’s angular and windowless facade gave it an imposing presence, garnering both praise and criticism from the public.

The front exterior of the building was designed to mimic the shape of the theater space inside. Unfortunately, its interior was not well-designed for use as a theater. It had poor acoustics and balconies set far back from the stage. The aisle space didn’t facilitate a smooth traffic flow. There were obstructed views—from orchestra seating.

With low attendance, the Mechanic Theater closed for a $500,000 renovation project in 1975-76. The renovation addressed some of the interior design complaints and the attendance improved.

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However, the Mechanic still had a relatively small house with only around 1,600 seats. It lacked backstage space needed to mount the types of large Broadway shows that were increasingly popular. The individual theaters in the nearby Kennedy Center in Washington, D.C., built around the same time, each have more seating than the Mechanic and have the interior infrastructure needed to stage grander, more technologically advanced productions. Competition from other venues, like the Kennedy Center, plus newer revitalization projects diverted the public away from the Mechanic, which closed for good in 2004.

There were attempts to get approval for an adaptive reuse of the building as the lobby and retail space of a new high-rise, despite it regularly showing up on lists of ugly buildings. Preservation Maryland lobbied to have the building preserved “as a representative of the Brutalist style of architecture.” Yet the group also acknowledged that changing urban renewal priorities and tastes present in surrounding revitalization projects that followed demonstrate that, “Today, people recognize the value of walkable streets in urban settings and they no longer want the windowless back side of the theater facing a major thoroughfare in downtown Baltimore.”

After sitting empty for a decade, the Mechanic Theater was demolished in 2015. The land remains empty despite attempts at redevelopment.

The Amir Centre (1961 – Present)

Jerusalem’s Amir Centre is also known as Beit Agron and the Supersol Building. It has also been called the city’s ugliest building since its construction.

A seven-story apartment building, the Amir Center was designed by architect David Resnick. It was designed and constructed during a short period when Israel lifted its laws that required all buildings in Jerusalem be faced with Jerusalem stone. Instead of designing a building fitting the city’s traditional aesthetic thousands of years old, the Amir Center has a distinctly modernist style.

The apartment building sits on pairs of V-shaped pillars and each floor is ringed with balconies, giving it a strong horizontal emphasis. What the critical public couldn’t see were the four inner courtyards that were part of the building’s advanced heating and ventilation system—a system that contributed to the Amir Center winning the Kaplan Prize in 1963 for its innovations.

Even so, the building seemed to clash with its surroundings, which may have inspired some of the immediate public dislike. According to reporting from Haaretz, Resnick said, “For me, it was very important to have modern construction in Jerusalem, but most of the people opposed my building and said it wasn’t in the Jerusalem tradition.”

Liam Davis, art historian at Art File Magazine, said, “The reception of the Amir Center upon its completion in 1961 was mixed. The perception of architectural beauty is subjective, influenced by cultural preferences and evolving trends. The Amir Center’s designation as ugly reflects a shifting consensus.”

The Amir Center has not improved with age. Over the years, many residents have built balcony screens and installed air conditioning units that disrupt the clean horizontal lines Resnick designed. The building has also been in a state of disrepair and decline for decades. In later years, Resnick said he had to look away when passing by the building, saying, “I can’t bear to see what they did to it.”

Despite the immediate criticism of the Amir Center, Resnick went on to become one of Israel’s most renowned modernist architects. He won both the Israel Prize and Rechter Prize for his lifetime contributions to Israeli architecture.

Today, the Amir Center will likely be demolished. A prior demolition was approved for 2022, but didn’t happen. The owners and tenants support demolition and there are plans to replace it with a luxury high-rise apartment building. For now, the plan is before the Jerusalem Municipality, waiting out its statutory objection period.

Chicago Sun-Times Building (1958 – 2005)

For nearly half a century, the Sun-Times Building sat hunkered along the Chicago River, a humble seven-story building among the city’s high rises.

Designed by Sigurd Naess and completed in 1958, the building’s shape was intended to look like a barge. Indeed, the building was designed to accommodate the boats that delivered the newsprint for the Chicago Sun-Times newspaper, which had its headquarters and printing press there.

The small-scale, modernist building was pioneering in its day. It had a steel frame and was one of the first buildings to use curtain-wall technology. The structure was one of 93 local buildings listed in the first edition of “Chicago’s Famous Buildings,” published in 1965. Despite this recognition, Chicagoans never took to the building, which was widely considered one of the city’s ugliest.

The newspaper left the building in 2004, and it was demolished in 2005. There was no organized effort to preserve the building.

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The riverside location, a block away from the Magnificent Mile, was never going to stay empty. Today it’s home to the Trump International Hotel & Tower, designed by Skidmore, Owings & Merrill. Early “Apprentice” fans may remember that the prize for the winner was managing a major construction project—this building was that project.

The 92-story commercial and residential space sits atop remnants of the original Sun-Times building, re-adapted as the building’s parking garage. To stay in concert with its environment, the building was designed with three setbacks, each in the direction of one of its architecturally significant neighbors: The Wrigley Building to the east, Marina City and Ludwig Mies van der Rohe’s last building in Chicago to the west. Its steelandglass exterior provides a reflection of its surroundings.

The softer, rounded setbacks may also allude to the square setbacks of the Willis Tower (formerly Sears Tower), as one of Trump’s motivations with the building was to have Chicago regain its title as home to the world’s tallest building. While not the world’s tallest building, it is Chicago’s tallest building at 1,338 feet. To withstand the city’s wind load, the building was constructed using a concrete core and outrigger system.

The aesthetics of the building have earned critical and popular appreciation, even with the very on-brand blazoning of “Trump” in 20-foot letters, spanning 141 feet across the building.

During the approval process of the design plans, Lee Bey, who was at the time the city’s chief deputy for planning and design and former architecture critic for the Sun-Times, said of the design, “It’s a tough crowd here in Chicago, architecturally. That site cries out for an architecturally significant building, and every Chicagoan knows it. This design is causing some excitement.”