The prosaic city garage at 690 Folsom Street in downtown San Francisco had been neglected for decades, but a recent makeover is attracting attention.

Few London buildings divide opinion so sharply as the National Theatre on the south bank of the Thames.

Commissioned to create a public artwork as part of a housing-project renovation in Copenhagen, poet Morten Søndergaard sought to express the individuality of the residents in counterpoint to the anonymity of the architecture.

The Wilhelm-Leuschner-Platz station lies 60 feet under the inner city of Leipzig, yet architect Max Dudler, who is based in Zürich, Frankfurt, and Berlin, wanted to create the impression that this public space is flooded with daylight.

Chicago’s Garfield Park Conservatory is a historic structure known for its extensive botanical collections. For the next year, however, the nearly 90,000-square-foot glazed building will be home to a very different attraction—one that will illuminate the architecture of its contiguous display houses.

Developed to appeal to a creative labor pool, the year-old Newell Rubbermaid Design Center lies within southwest Michigan's hub of industrial design, just a stone's throw from internationally acclaimed manufacturers Haworth, Herman Miller, and Steelcase. 

Atlanta-based developer Jamestown wanted its Pacific Place office building, at 22 Fourth Street in downtown San Francisco, to appeal to young tech workers with a lobby similar to that of a hip hotel.

From Al Jazeera's London broadcast hub on the 16th floor of the Shard, staff and viewers enjoy panoramic skyline views. It was this vantage point that attracted the global media network to the Renzo Piano-designed tower, but its choice created challenges for architects John McAslan + Partners (JMP), which designed reception and workspaces, and Veech x Veech, responsible for the broadcast studio. 

In Boston, where progressive buildings can be polarizing, the Christian Science Center offers a rare example of Modernism that wins both critical and public acclaim.