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The 2016 Biennale, in response to a raft of global problems, included few American architects but a wider American influence.

Over the last few months, one of the most banal architectural spaces—the public restroom—has been at the forefront of a national civil rights debate.

From the top of Outlook Hill on Governors Island, the 172-acre land mass in New York Harbor, views of New York unfurl in a postcard-worthy panorama: the eye glides from the glossy skyscrapers of Lower Manhattan to the mint-green silhouette of Lady Liberty, across the channel to Brooklyn and the borough’s iconic bridge.

Innovation doesn’t always mean employing new technology—it can also mean renewing and refining methods known for centuries.

“Bigamy” in architecture, at least according to the Copenhagen-based Bjarke Ingels Group, means the combination of diametrically opposed parts.

For its second act, a landmark museum in London continues its tradition of inspiring awe.

In Zurich, the walls of Galerie Gmurzynska’s latest exhibition, Kurt Schwitters: Merz, ripple and swell with the last art installation designed by Zaha Hadid.