Kohn Pedersen Fox, 2019
Hudson Yards Is Manhattan’s Biggest, Newest, Slickest Gated Community. Is This the Neighborhood New York Deserves?"
Santiago Calatrava, 2016
The hub, opening Thursday, gives the city an Instagram-ready attraction and the most expensive train station ever.
Dattner Architects, 2015
Opponents feared a new garage would blight their neighborhood. But it has turned out to be a boon: an eye-catching tribute to inventive design.
This 30-story building is not just another spec office tower, but a work that makes the case for why architecture matters.
No longer a fortress in an uneasy city, the Whitney Museum of American Art opens itself up to a changed New York, a glittery emblem of new urban capital signaling a definitive shift in the city’s social geography.
The World Trade Center site in Lower Manhattan negotiates its dual roles as a memorial and a part of a living city.
Rogers Partners, 2014
A new public school that also includes a community center and other public amenities is part of a joint project designed to revitalize a blighted section of East Baltimore.
Selldorf Architects, 2013
The new Sims Municipal Recycling Facility opening soon in Sunset Park, Brooklyn, promises to reduce recycling costs and create jobs, all in a pleasing waterfront structure.
Archea architects of Florence have built a new headquarters for Antinori winemakers in Tuscany.
Steven Holl Architects, 2013
Columbia University’s new sports complex, by Steven Holl Architects, fills a difficult site at the northern tip of Manhattan.
Two Brooklyn architecture reviews in one: a rave for the Barclays Center arena, a pan for the larger development, and a plea to make the development worthy of the arena.
David Baker + Partners, 2012
Tassafaronga Village, a mixed-income development in Oakland, Calif., and the Richardson Apartments for the formerly homeless in San Francisco have created ripples of change in their communities.
Grimshaw Architects, Dattner Architects, 2011
Via Verde, a subsidized housing development in the South Bronx, rethinks the mix of private and public spaces and makes an argument for the civic value of architecture.
Rem Koolhaas, 2011
Rem Koolhaas’s CCTV building in Beijing, headquarters of China Central Television, has a beguiling and powerful design and is a metaphor for a country racing headlong into the future.
Neil Denari, 2011
With the HL23 condominium tower in west Chelsea, Neil Denari establishes himself, midcareer, as an architect with something to say about the road American culture has followed since the postwar era.
Diller Scofidio & Renfro, 2011
Whether Brown University’s new interdisciplinary arts center produces worthwhile art remains to be seen, but the building is a handsome piece of architecture.
Frank Gehry, 2011
A new tower at 8 Spruce Street, the architect Frank Gehry’s first skyscraper, is the most significant change to the Lower Manhattan skyline since Sept. 11, 2001.
Miami Beach, Fla.
Michael Tilson Thomas and Frank Gehry, 2011
Michael Tilson Thomas and Frank Gehry joined visions to create a new home for the New World Symphony in Miami Beach.
Thomas Leeser, 2011
The Museum of the Moving Image in Astoria, Queens, opens a new addition.
Los Angeles, Calif.
Renzo Piano, 2011
Many critical aspects of the design of the Broad Art Foundation miss the mark.
One Madison Park, a luxury tower by CetraRuddy, has encountered financial trouble, but still signals an encouraging trend in contemporary design.
Renzo Piano, 2010
The complex issues surrounding Renzo Piano’s new building for the Whitney Museum in the meatpacking district are exacerbated by a ticking clock and the fear of having to live down another flop.
Fort Worth, Tx.
Renzo Piano, 2010
Renzo Piano’s design for an addition to Louis Kahn’s Modern masterpiece, the Kimbell Art Museum, to be unveiled on Thursday in Fort Worth, honors Kahn’s legacy.
Diller Scofidio & Renfro, 2010
The latest phase of Lincoln Center’s renovation includes a dazzling lawn with a twist, but the new elements don’t cohere.
Skidmore, Owings & Merrill, 2010
The New School’s new University Center on Fifth Avenue is intended to encourage student interaction, but may be a bit much for some in the Village.
Michael Van Valkenburgh Associates, 2010
The new Brooklyn Bridge Park is part of a broader effort to enhance parkland along the East River in Manhattan and on Governors Island.
Jean Nouvel, 2010
Jean Nouvel’s design for the National Museum of Qatar may be that French architect’s most overtly poetic act of cultural synthesis yet.
Jean Nouvel, 2010
Jean Nouvel’s new residential tower in Chelsea conjures a downtown New York we once loved and can now barely remember.
The design for the new American Embassy has all the glamour of a corporate office block.
Herzog & De Meuron, 2009
The design for the Miami Art Museum is not a regurgitation of outmoded historical forms.
Zaha Hadid, 2009
What would Pope Urban VIII have made of Maxxi, the new museum of contemporary art designed by Zaha Hadid on the outskirts of Rome’s historic quarter?
Together the new Dee and Charles Wyly Theater and the Margot and Bill Winspear Opera House give Dallas the cultural stature it has long been craving.
Tod Williams and Billie Tsien, 2009
Almost every detail of the designs for the new Barnes Foundation seems to ache from the strain of trying to preserve the spirit of the original building in a very different context.
The Dallas Cowboys’ new home avoids a small-town look common in recent stadiums, but it suffers from its embrace of a bigger-is-better mentality.
Ellerbe Becket and Shop Architects, 2009
To say that the 22-acre Atlantic Yards development project in Brooklyn is in disarray is not a major revelation. That it may still be possible to save and may even be worth saving comes as news.
Toyo Ito, 2009
Designed by the Japanese architect Toyo Ito, the World Games’ main stadium in Taiwan is not only magnetic architecture, it is also a remarkably humane environment.
James Corner Field Operations, Diller Scofidio & Renfro, 2009
The first phase of the High Line is one of the most thoughtful public spaces in New York in years.
Thom Mayne, 2009
Thom Mayne’s design for the new academic building at the Cooper Union for the Advancement of Science and Art proves that a brash, rebellious attitude can be a legitimate form of civic pride.
Janette Sadik-Khan, 2009
A day after a stretch of Broadway between 42nd and 47th Streets was closed to cars, the soul of Times Square remained intact.
Polshek Partnership, 2009
The new Standard Hotel in the meatpacking district, the first of a string of projects linked to the development of the High Line, is serious architecture.
American stadium design has been stuck in a nostalgic funk, with sports franchises recycling the same old images year after year. Still, if you have to go with a retro look, New York City could have done worse than the new Yankee Stadium and Citi
Brad Cloepfil, 2008
The redesign of 2 Columbus Circle is not the bold architectural statement that might have justified the destruction of an important piece of New York history.
Renzo Piano, 2008
Not all architects embrace the idea of evolution. Some, fixated on the 20th-century notion of the avant-garde, view their work as a divine revelation, as if history began with them. Others pine for the Middle Ages. But if you want reaffirmation t
New Haven, Conn.
Gwathmey Siegel & Associates, 2008
Now seen in its full glory after a major restoration and addition, the once-maligned Yale School of Art and Architecture turns out to be a masterpiece of late Modernism.
Jacques Herzog and Pierre de Meuron, 2008
The National Stadium reaffirms architecture’s civilizing role in a nation that is struggling to forge a new identity out of a maelstrom of inner conflict.
Polshek Partnership Architects, 2008
The Newseum is the latest reason to lament the state of contemporary architecture in Washington. Despite its lofty tone, the design reeks of parochialism, not bold ideas.
Renzo Piano, 2007
The new building delivers on Modernism’s promise to drag us in this case, The Times out of the Dark Ages.
Coop Himmelb(l)au, 2007
The new addition to the Akron Museum of Art underscores how hard it can be to strike a balance between daring architecture and enjoyable spaces for viewing art.
New Canaan, Conn.
Philip Johnson, 2007
For all its fame, the Glass House in New Canaan, Conn., is structurally imperfect, but is also a legitimate aesthetic triumph.
Kansas City, Mo.
Steven Holl, 2007
Steven Holl’s breathtaking addition to the Nelson-Atkins Museum of Art, opening on June 9, is his most mature work to date, a perfect synthesis of ideas that he has been refining for more than a decade.
Hilversum, the Netherlands
Willem Jan Neutelings and Michiel Riedijk, 2007
Wrapped in a luxurious skin of colorful cast-glass panels, the Netherlands Institute for Sound and Vision is the most gorgeous work to date by Willem Jan Neutelings and Michiel Riedijk.
Frank Gehry, 2007
Frank Gehry is adding a much-needed touch of lightness to the Manhattan skyline just as the city finally emerges from a period of mourning.
Norman Foster, 2007
Norman Foster’s hotel and retail complex is a strange blend of classical and modern elements that edges dangerously close to parody.
San Francisco, Calif.
Thom Mayne, 2007
Thom Mayne’s Federal Building in San Francisco might just be the bookend to a heady phase of government-sponsored architecture.
Andrew Zago, 2006
The new Museum of Contemporary Art Detroit accepts decay as fact rather than a thing to be covered up.
Daniel Libeskind, 2006
Bold forms and tortured geometries dominate Daniel Libeskind’s addition to the Denver Art Museum, creating mesmerizing architecture and a daunting place to install or view art.
Norman Foster, 2006
Norman Foster’s design for 980 Madison Avenue may well infuriate people, but you cannot help but marvel at the project’s sophistication as a work of architecture.
Arquitectonica owed New York a decent building, and it finally came through with the Bronx Museum of the Arts.
Richard Meier, 2006
The opening of the Ara Pacis Museum should have been cause for celebration. That the building is a flop is therefore a major disappointment.
Norman Foster, Richard Rogers and Fumihiko Maki, 2006
The designs for three glass towers at ground zero illustrate how low our expectations have sunk since the city first resolved to rebuild there.
Kazuyo Sejima and Ryue Nishizawa, 2006
Standing in front of the new Glass Pavilion at the Toledo Museum of Art can reawaken that belief in the power of glass to enchant.
Zaha Hadid, 2005
The new Phaeno Science Center in Germany, designed by Zaha Hadid, is the kind of building that utterly transforms our vision of the future.
Zaha Hadid, 2005
Zaha Hadid's BMW plant in Germany is a test drive of a sexy new model for factory design.
The design for a new museum that will house the International Freedom Center and the Drawing Center is more about politics than architecture.
Peter Eisenman, 2005
The quiet abstraction and stark physical presence of the memorial in Berlin memorializes past sufferings but also forces us to acknowledge the Holocaust's relevance today.
Jacques Herzog and Pierre de Meuron, 2005
The Walker Art Center's new home is a masterly example of how exhausted motifs can acquire new meaning when reworked in a fresh setting.
Rem Koolhaas, 2005
The recently completed Casa da Musica is something new for the architect a building whose intellectual ardor is matched by its sensual beauty.
San Diego, Calif.
Robert Venturi, 1996
IT'S STRANGE TO THINK OF AN ART museum as the work of a noted architect when he didn't design its exhibition galleries, and probably stranger still to praise it as one of the high points in his recent oeuvre. But how else to describe what Robert Ven
La Jolla, Calif.
David Rinehart and John MacAllister, 1996
HOW DELICATE IS great architecture, that it must be protected not only from its enemies, but also from its friends. Almost everyone who has ever seen Louis Kahn's Salk Institute for Biological Studies admires it as one of the exalted buildings of Am
Beverly Hills, Calif.
Richard Meier, 1996
IT IS BETTER TO BE GOOD THAN original,Mies van der Rohe said, and his words could well apply to Richard Meier. Mr. Meier's architecture -- elegant, utterly refined, modernist to the core -- has not changed in any fundamental way since he made his st
Ram Karmi and Ada Karmi-Melamede, 1995
HOW TO MAKE A COURT IN Israel? It is not as easy an architectural problem as you might think. In the United States, architects have usually fallen back on classical architecture as the easiest way to project the air of dignity, moral authority, per
Arata Isozaki, 1995
WHERE BETTER TO COME to grips with the struggle between modernism and history than Kyoto? This city's new concert hall by Arata Isozaki might conceivably exist in Tokyo, or Osaka, or even Frankfurt or Barcelona: it is good enough to hold its own am
Tadao Ando, 1995
IF LOUIS KAHN HAD BEEN Japanese, he would have been Tadao Ando. But perhaps that is too easy. Mr. Ando, a 53-year-old former boxer, self- trained as an architect, who last week was named the 18th winner of the Pritzker Prize, could not be more di
Renzo Piano, 1994
IT MAY FINALLY HAVE HAPPENED an airport that is as important a piece of monumental architecture as the great train stations. That it should have been built in Japan, a country that never had any great train stations to speak of and where civic prid
Rafael Moneo, 1994
THIS COLUMN IS SUPPOSED TO be about Rafael Moneo, but it may turn out to be just as much about Paul Rudolph. For the new Davis Museum and Cultural Center on the Wellesley College campus, the first building outside Spain designed by Mr. Moneo, one of
I. M. Pei and Frank Williams, 1993
"Rather chilly, don't you think?" said a friend I encountered the other day in the lobby of the new Four Seasons Hotel on East 57th Street in Manhattan. And indeed, the scuttlebutt about this I. M. Pei-designed tower, surely the most talked-about n
Thomas Jefferson, 1993
The original campus of the University of Virginia the Lawn to everyone here -- was designed by Thomas Jefferson when he was 74, and it is possibly the greatest piece of architecture in America. That is not a comment I make lightly; neither is it a
Eero Saarinen, 1992
The notion that a work of architecture could symbolize a corporation -- that it could give concrete meaning to a company's image, its aspirations, its role in the community -- suffered a major blow with the announcement last month that CBS was look
Skidmore, Owings & Merrill and Santiago Calatrava, 1992
FOR ALL THE GOOD PRESS THIS city has received, it hasn't been much of a place for architecture. (It wasn't much of a place for baseball, either, once upon a time.) Toronto's glory was in its ability to make urbanity seem benign and welcoming, to ma
When the Walt Disney Company embarked on the ambitious blitz of building that would make it, by the late 1980's, the world's most talked-about corporate patron of architecture, it seemed mainly to be assembling trophies: a Michael Graves building h
Norman Foster, 1992
Norman Foster gives one faith in modernism. That's what his super-sleek, glass-and-metal buildings come down to, really: evidence that the modernist style has not lost all possibility of appearing fresh, that it can still excite us and even provide
Robert Venturi, 1992
AFTER NEARLY A YEAR, THE Sainsbury Wing has settled so comfortably into the landscape of Trafalgar Square that it is hard to imagine the brouhaha that this addition to the National Gallery caused when it opened. "Picturesque mediocre slime"? "An in
Hannah/Olin Ltd., 1992
Why is it that whenever a moment of genuine joy appears in the physical fabric of New York, the first impulse is to think you must be somewhere else? Are we so used to the notion of New York as harsh, dirty and dangerous -- which it so often is --
Thomas Beeb, 1992
It is grand, it is noble, it is a temple of urban glory. There are things to criticize about the new central library here, named the Harold Washington Library Center in honor of the former mayor, but let's give it its due: no building erected in ou
I. M. Pei, 1984
Is Paris Williamsburg? Far from it. In fact, the worst thing of all that can be done to Paris is to try to preserve it just as it is, to freeze it from future change. Like all great cities Paris is a kind of organism, and it lives and breathes; i
Philip Johnson and John Burgee, 1983
Plaza tower is a crisp abstraction in pale blue reflective glass, a minimalist form full of sharp angles and cut- ins and nips and tucks. It could not seem, at first glance, to be more different from the A.T.& T. Building - it is cool and sleek whe
Rye Brook, N.Y.
Kevin Roche, 1983
If Palladio had designed a spaceship, it might have looked something like the new headquarters of General Foods Corporation, which opened last week in this small village in the center of Westchester County. The building is perhaps the most curious
Cooper, Eckstut Associate, 1983
It is tempting to say that there has not been a first-class public open space created in Manhattan since Central Park. It would not be true, of course - there is Paley Park, and the promenade over the East River Drive at Carl Schurz Park, and the s
Block Island, R.I.
Robert Venturi, 1982
Two houses designed by the architect Robert Venturi pay gentle homage to the classical bungalows of Block Island, existing in an easy relationship between themselves and the landscape. Most discussions of houses by prominent contemporary archite
Kohn Pedersen Fox, 1982
If there is any encouraging sign in American architecture right now, it is that certain ideas which seemed somewhat radical just a few years ago - and were the exclusive province of a group of noncommercial, ''high design'' architects - have begun
Richard Meier, 1981
Any visitor to the new headquarters of the Hartford Seminary in Hartford, Conn., will have no trouble recognizing the building. This glistening white structure makes its immaculate presence so inimitably clear that there is no question about which
Gyo Obata, 1976
WASHINGTON, D.C. It's a bird, it's a plane, it's Supermuseum! It's the Air and Space Museum of the Smithsonian Institution, dedicated this week for the Bicentennial, and it stretches 685 glass and marble feet, or more than three city blocks, along t
Johnson/Burgee and S.I. Morris Associates, 1976
HOUSTON New York architects Philip Johnson and John Burgee are completing one of the best big buildings in the country--not in New York, but in Houston. That is not surprising. As reported here last week, Houston is the place where money, power and p
Peterson and Brickbauer; Shreve, Lamb, and Harmon, 1976
The new Bankers Trust Building in Lower Manhattan is the first visible product of the special zoning passed by the city in 1971 for the Greenwich Street area. In fact, the two-square block, 40-story structure has actually been built by that zoning, w
James Polshek, 1975
After a series of vicissitudes, the Brotherhood Synagogue, formerly located on West 13th Street, and the Friends' Meeting House, on Gramercy Square, have found each other. The result is an admirable demonstration of appropriate contemporary reuse of
Kevin Roche, John Dinkaloo and Associates, 1975
CHICAGO Chicago and New York have something basic in common: no matter how great the toll taken by development and politics (the classic spoilers), immense power and distinction remain. Call it charisma, machismo, vibes or the culture of cities. But
Dalton, van Dijk, Johnson and Partners and Charles Lawrence, 1973
THEY got it all together in Akron. The trials and errors of a 15-year performing arts center building boom in the United States have finally produced a superb structure-the Edwin J. Thomas Performing Arts Hall, which had its gala opening last week.
Minoru Yamasaki and Associates and Emory Roth and Sons, 1973
A funny thing happened on the way to the new Custom House at the World Trade Center. Public architecture declined and fell. On Oct. 19 at 2 P.M. the United States, Custom Service will dedicate its new building, a seven-story glass
Philip Johnson and John Burgee, 1973
BOSTON-This city has a sleeping giant. The new wing of the Boston Public Library on Copley Square by Philip Johnson and John Burgee ha opened without fanfare,
Minoru Yamasaki, 1973
The towers are pure technology, the lobbies are pure sclimaltz and the impact on New York of two 110-story buildings and auxiliary structures with a projected population of 130,000 workers and visitors using a city-size amount of services is pure spe
Geddes, Brecher, Qualls, Cunningham, 1972
PRINCETON, N. J. -- The air is a bit more rarefied at the Institute for Advanced Study than in the rest of Princeton, and the new architecture, generally, is better. The institute, the prestigious center of advanced research in the fields of mathemat
Morris Ketchum Jr. and Associates, 1972
There are no flies on New York's Bronx Zoo. It entertains, informs, instructs and proselytizes, and it uses the tool of architecture to do so with singular skill. The World of Birds, being officially unveiled this week, is the second spectacularly sp
Eero Sarrien Associates, 1964
The Ford Foundation announced plans yesterday for a new headquarters building that departs radically from routine New York office construction and promises to add a distinguished landmark to the United Nations neighborhood.
Wallace Harrison, 1964
The extraordinary new building by Wallace Harrison that houses the Hall of Science at the World's Fair is an exotically handsome, highly romantic structure of great dramatic impact and considerable esthetic allure.
Albert C. Ledner, 1964
THE National Maritime Union has built itself a battleship on Seventh Avenue. The union's new national headquarters and New York offices are housed in a Frank Lloyd Wright-type of building in a city that boasts of only one Frank Lloyd Wright original,
New Haven, Conn.
Paul Rudolph, 1963
RARELY has a building evoked as much advance interest as the new Art and Architecture Build ing at Yale dedicated yesterday. For six months, the word has gone around that this is architect's architecture at the highest level. Even on a campus rich i
Wiliam B. Tabler, 1963
A COLD war is being fought at the newly opened New York Hilton at Rockefeller Center, with skirmishes in every corridor and on every floor. Battle lines are drawn between architecture and decoration, between
Le Corbusier, 1963
CAMBRIDGE, Mass., May 27 --This New England stronghold of tradition was the setting today for the dedication of one of the country's most unconventional newt buildings.