Mitchell Hall, located at the United States Air Force Academy in Colorado Springs, is part of the original master plan for the Cadet Area of the campus. The Skidmore, Owings & Merrill design team, led by Gertrude Lempp Kerbis, wanted to make the hall’s interior column-free, and developed an advanced roof of steel trusses supported by sixteen perimeter columns to make this possible. The building was designed to fit the functional requirement of a dining hall, feeding thousands of Cadets at once while also reflecting the forward-thinking spirit that the Air Force, the military's newest branch, wanted to project to the world. The Air Force Academy’s architectural characteristics—clean forms, often raised from the ground, clad in steel, glass, and aluminum—shared similarities with the Air Force's airplanes, and set the campus apart from the architecture of West Point and the U.S. Naval Academy.

The Denver Art Museum’s North Building was designed by Italian architect Gio Ponti, along with Denver-based architects James Sudler and Joal Cronenwett. The building opened on October 3, 1971, and is Ponti’s only building in North America. Its form provided an identity for the Denver Art Museum and became a symbol of the DAM itself. Many visitors have said that the North Building looks like a castle or fortress. These comparisons complement how Ponti understood the function of art museums: to protect treasures. He asked, “If a museum has to protect works of art, isn’t it only right that it should be a castle?” Ponti was also interested in creating a building that would reflect light. “I asked the sun and the light and the sky to help me,” he said. He chose to cover the building with gray tiles (in several different shades of gray) because the neutral color picks up the sky’s reflections better than a strong color would. He described the DAM’s North Building as “an invitation to the sun.” Otto Bach, Director of the Denver Art Museum at the time, envisioned a modern, visitor friendly museum where patrons could find the collection they wanted to see easily. Instead of walking through gallery after gallery on one floor, collections are divided into seven floors. Ponti emphasized this verticality in his building design. He overlapped vertical wall segments, arranged the outside wall tiles vertically, and used vertical, narrow windows. The walls within the galleries were designed so that they could be moved around to suit the needs of different curators and their collections. Because of this, there is great variety in gallery design among the different floors of the building. (Adapted from the Denver Art Museum website)