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Unifying old and new buildings on a girls school campus in London creates a fresh identity—and wins the Stirling Prize.

Frank Lloyd wright did not take criticism lightly. He was furious at the stinging denunciation of his revolutionary Larkin Building in Buffalo that was published in Architectural Record in April 1908. Its author, Russell Sturgis, an eminent architect and historian who had written for RECORD since its inception in 1891, called Wright’s office building for a mail-order soap company “ungainly” and “awkward.” Wright retaliated in an unpublished reply that it was “pathetic” to see a well-respected critic “picking over bit by bit his architectural ragbag for architectural finery wherewith to clothe the nakedness of the young giant.”

MASS Design group is used to working in remote places. Building schools or health centers where there were none and training local labor is practically written into its DNA.

Lincoln Center spent more than $1 billion on a series of renovations by Diller Scofido + Renfro, while leaving two of its largest buildings untouched. Now it plans to spend $500 million to renovate the interior of David Geffen Hall.

Designing a museum is nothing new for Zaha Hadid Architects. Creating one on top of Mount Kronplatz in northern Italy is something else entirely.

A graffiti-covered factory in Williamsburg, Brooklyn, may not seem the most likely of venues for classical music.

"Everything I do is aimed at dynamizing my work,” Carme Pinós declares, “because dynamism communicates lightness.”

Dramatically framed by Morphosis’s glassy Federal Building looming behind it, the revived Strand theater, a gleaming red experimental performance space and education center for the American Conservatory Theater (A.C.T.) designed by Skidmore, Owings & Merrill, clicks into its site on San Francisco’s Market Street like one of the final pieces of a complex puzzle.