James S. Russell
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Shaggy tubes of tropical plants dangle from the roof of the Perez Art Museum Miami.
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Steven Holl’s Campbell Sports Center at New York’s Columbia University flamboyantly bumps and grinds around the busy corner of Broadway and 218th Street, showing off its shiny metal stairs that ascend like lightning bolts.
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Newark, New Jersey, is home to one of the poorest downtowns in the U.S., a once-exuberant commercial retail corridor where many old movie palaces, ornate department stores and grimy storefronts stand empty.
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Three glass domes set to rise like cartoon idea bubbles can’t save Amazon.com Inc.’s new Seattle headquarters from terminal dullness.
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Where’s the judicial hush -- the cherry wood paneling and shiny brass that dignify the scrutiny of subparagraphs, the balancing of crime and punishment?
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Manhattan’s Hudson Yards mega- development is rising again, twice as large as Rockefeller Center and more centrally located than London’s Canary Wharf.
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The Museum Tower, a 42-story condominium in Dallas, borrowed cachet from the neighboring Nasher Sculpture Center to brand itself and sell $4 million apartments.
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The eastern span of the San Francisco-Oakland Bay Bridge was supposed to be the crowning glory of the bridge-builder’s art, gracefully echoing the rolling hills surrounding San Francisco Bay.
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The idea of auctioning the crown- jewel holdings of the Detroit Institute of Arts looks like a quick fix for a bankrupt city.
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Lower Manhattan is turning into an armored security zone.
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On a beachfront pummeled by Hurricane Sandy, warped trellises clustered around a chartreuse-painted concession stand wave a cheerful greeting.
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Le Corbusier, the architect who wanted to bulldoze much of Paris, was a romantic at heart.
