How does one explain the fascination with Peter Zumthor? It is not because of an architectural style.

Though embedded in a mammoth, mixed-use development, the comparatively modest 50,590-square-foot Suntory Museum of Art confidently stands its ground.

For years, the Japanese have been infatuated with Manhattan real estate. Timeless and elegant, New York landmarks fronting gracious avenues are everything that the vast majority of Tokyo buildings are not.

An installation space dedicated to design, 21_21 DESIGN SIGHT is Tadao Ando’s concrete contribution to Tokyo Midtown.

While four national institutions hold major collections, the crowds at blockbuster traveling exhibitions of masterworks by native artists (Hokusai) or foreign ones (Monet) have catapulted Tokyo and Japan into the front ranks of museum attendance.

The Caixa Galicia Foundation, a regional cultural center designed by Grimshaw Architects, packs a lot of design intensity into a small but prime port-side site in La Coruña, on Spain’s northwest Atlantic coast.

With its ethereal, milky-white skin and faceted curves, Frank Gehry’s IAC Building stands out against the heavy, industrial structures surrounding it on the western fringe of Manhattan’s rapidly evolving Chelsea neighborhood.

People have been living in Rome, the longest continually inhabited place on the planet, for the past 3,000 years.

Rarely does an architect get the chance to add significantly to, much less transform, work done decades before.