Nature continues to confound us. The undersea earthquake of December 26, 2004, shook the globe at force 9, triggering waves that slapped the civilized world into submission.

The turning of the year brings a flurry of awards cascading through the media.

Not all buildings need to shout. If you are a typical reader of Architectural Record, you might conclude that most contemporary architecture speaks assertively, even independently of its surroundings.

On campuses across the United States, fall brings homecomings, which tend toward beer-laced nostalgia amid the swirling autumnal leaves.

In an architectural world freaked out on speed and hype, Fay Jones stood apart.

When the last crowds have dispersed from the Plaka in Athens and the television ratings have been scrutinized high in midtown Manhattan, the real hero of the 2004 Olympics will emerge.

Lying on the beach, the office fades. But as certain as the waves tumbling in, fall approaches on the heels of summer’s ozone-laden days.

How could your otherwise fine magazine allow…” Thus begins a lament, an actual complaint about a writer’s point of view.

The World War II Memorial, recently unveiled on the Mall in Washington, D.C., embodies the term “neo”—Neoclassic, neo-Modern, even neo-Postmodern—and inhabits a nether region in the landscape between the Washington Monument and the Lincoln Memorial.

This month, the Pritzker Prize will be given to architect Zaha Hadid in a ceremony at the Hermitage Museum in St. Petersburg.