The New Bodleian Library in the historic center of Oxford had for years been so unfashionable as to be all but invisible. Designed in the mid-1930s by Sir Giles Gilbert Scott (1880–1960) in a stripped-down classical style, and not completed until 1946, it was already a throwback at a time when modernism was rising. 

There’s a disconnect that runs through your mind when you set foot inside the Forum, an addition to Marvin Hall, the School of Architecture, Design & Planning at the University of Kansas in Lawrence.

A vertical campus for a new urban university in Lima, Peru, rises to the occasion by fitting in.

Art breaks the rules” is an idea Pomona College’s art faculty hoped its new building would convey, recalls department chair Michael O’Malley.

It’s an urban oasis, an indoor landscape, and an effective solution to brand a university campus otherwise lost in the chaos of downtown Toronto. Designed by Snøhetta in collaboration with local firm Zeidler Partnership Architects, Ryerson University’s new Student Learning Centre is an audacious bid to redefine the concept of an inner-city student commons. “The program is amazingly open,” says project architect Michael Cotton, of Snøhetta’s New York office. “It’s almost like a 10-story lobby. Sometimes we call it a library without books.” 

The City College of New York (CCNY) is a bit like an academic Acropolis. Situated in Upper Manhattan on one of the island’s highest points, its collection of early 20th-century neo-Gothic buildings, by George B. Post—and more recent additions by architects that include Skidmore, Owings & Merrill and Rafael Viñoly—sit high above the surrounding neighborhood of townhouses and low-scale apartment buildings.

In developing the ceramic facade for a revamped studio-art wing for Macalester College’s Janet Wallace Fine Arts Center, the architects at Minneapolis-based firm HGA started to feel as if they had enrolled in an art class of their own.