This year’s highlights include the remodelling of a Richard Seifert brutalist ‘corncob’ tower, a celebration of Japanese carpentry and a wearable hot-water bottle
• The best art and photography of 2025
• More on the best culture of 2025

In a case of contents outshining the container, the V&A’s national museum of everything takes the public up close and personal to a gallimaufry of precious things, from porcelain to poison darts, textiles to tiaras. Elegantly shoehorned into the gargantuan hangar that was originally the broadcasting centre for the 2012 Olympics, it’s an Amazon warehouse crammed with global treasures, setting visitors off on an odyssey of “curated transgression” through an immersive cabinet of curiosities.

Canadian Centre for Architecture, Montreal
The birth of the People’s Republic is seen as a time of drab buildings. But this dazzling show, featuring a factory in a cave and a denounced roof, tells a wildly different story

In 1954, an issue of Manhua, a state-sponsored satirical magazine in China, declared: “Some architects blindly worship the formalist styles of western bourgeois design. As a result, grotesque and reactionary buildings have appeared.”

Beneath the headline Ugly Architecture, humorous cartoons of weird buildings fill the page. There is a modernist cylinder with a neoclassical portico bolted on to the front. Another blobby building is framed by an arc of ice-cream cone-shaped columns. An experimental bus stop features a bench beneath an impractical cuboid canopy, “unable to protect you from wind, rain or sun”, as a passerby observes. “Why don’t these buildings adopt the Chinese national style?” asks another bewildered figure, as he cowers beneath a looming glass tower that bears all the hallmarks of the corrupt, capitalist west.

Trump praises Vince Haley, his ex-speechwriter tasked with creating Arc de Triomphe knockoff amid affordability crisis

Amid concerns that he has failed to address a worsening affordability crisis, with health insurance premiums about to spike dramatically for over 20 million Americans, Donald Trump revealed on Sunday that his domestic policy chief’s main priority is building a triumphal arch for Washington DC.

Speaking at a White House holiday party, the president praised Vince Haley, his former speechwriter and a longtime aide to Newt Gingrich who now leads the White House Domestic Policy Council.

The brutalist arts-and-towers complex, where even great explorers get lost, is showing its age. Let’s hope the 50th anniversary upgrade is better than the ‘pointillist stippling’ tried in the 1990s

The Barbican is aptly named. From the Old French barbacane, it historically means a fortified gateway forming the outer line of defence to a city or castle. London’s Barbican marks the site of a medieval structure that would have defended an important access point. Its architecture was designed to repel. Some might argue, as they stumble out of Barbican tube station and gaze upwards, not much has changed in the interim.

The use of the word “barbican” was in decline in this country until the opening in 1982 of the Barbican Arts Centre. Taking 20 years to build, it completed the modernist megastructure of the Barbican Estate, grafted on to a huge tract of land devastated by wartime bombing. The aim was to bring life back to the City through swish new housing, energised by the presence of culture. Nonetheless, the arts centre, the elusive minotaur at the heart of the concrete labyrinth, was always farcically difficult to locate. To this day, visitors are obliged to trundle along the Ariadne’s thread of the famous yellow line, inscribed in what seemed like an act of institutional desperation, across concrete hill and dale.

With its soaring ceilings, meandering pathways and mesh-like walls, Taichung Art Museum, designed by Sanaa, sweeps visitors from library to gallery to rooftop garden for rousing views

Walking through the brand new Taichung Art Museum in central Taiwan, directions are kind of an abstract concept. Designed by powerhouse Japanese architecture firm Sanaa, the complex is a collection of eight askew buildings, melding an art museum and municipal library, encased in silver mesh-like walls, with soaring ceilings and meandering pathways.

Past the lobby – a breezy open space that is neither inside nor out – the visitor wanders around paths and ramps, finding themselves in the library one minute and a world-class art exhibition the next. A door might suddenly step through to a skybridge over a rooftop garden, with sweeping views across Taichung’s Central Park, or into a cosy teenage reading room. Staircases float on the outside of buildings, floor levels are disparate, complementing a particular space’s purpose and vibe rather than having an overall consistency.

National Trust looks to halt construction, claiming Trump tore down historic East Wing without needed permission

Donald Trump is facing a federal lawsuit seeking to halt construction on his $300m White House ballroom, with historic preservationists accusing the president of violating multiple federal laws by tearing down part of the iconic building without required reviews or congressional approval.

The legal challenge, filed on Friday by the National Trust for Historic Preservation in the US district court for the District of Columbia, represents the most significant attempt yet to stop Trump’s 90,000-sq-ft addition to the White House complex. The organization is seeking a temporary restraining order to freeze all construction activities until proper federal oversight procedures are completed.

From his home town of Los Angeles, the architect designed a career around defying what was predictable

In Frank Gehry’s world, no building was left untilted, unexposed or untouched by unconventional material. The Canadian-American architect, who died in his Los Angeles home at 96, designed a career around defying what was predictable and pulling in materials that were uncommon and, as such, relatively inexpensive.

Gehry collaborated with artists to turn giant binoculars into an entryway of a commercial campus, and paid homage to a writer’s past as a lifeguard by creating a livable lifeguard tower. And while dreaming this up, he transformed American architecture along the way.

The architect, whose work included the Guggenheim Museum in Bilbao and the Walt Disney Concert Hall in LA, died after a brief illness

• From Bilbao to Las Vegas: Frank Gehry’s incredible architecture – in pictures

Frank Gehry, one of the most influential and distinctive talents in American architecture, died on Friday at his home in Los Angeles following a brief respiratory illness, his chief of staff confirmed. He was 96.

Gehry, the most recognizable American architect since Frank Lloyd Wright, was one of the first to embrace the potential of computer design, and pioneered a distinctively exuberant style of bravura power, whimsical and arresting collisions of form. His most famous work remains the Guggenheim Museumin Bilbao, a fantastical, titanium-clad composition on the Nervión River which received international acclaim upon its opening in 1997, heralding a new era of emotive architecture.

The award-winning designer and architect leaves behind unique buildings all across the world from Dundee to Düsseldorf. He died after a brief respiratory illness at the age of 96

Frank Gehry, legendary Canadian-American architect, dies aged 96

The imposing concrete buildings that defined British postwar architecture held a vision of the future – but many fell into disrepair. A new book finds the finest examples

It contains enough steel to go round the world twice – and even has a fake breeze to flutter the stars-and-stripes flag in its lobby. If this colossus is just the first of a new breed of bulky supertalls, is Britain next?

Among the slender needles and elegant spires of the Manhattan skyline, a mountainous lump has reared into view. It galumphs its way up above the others, climbing in bulky steps with the look of several towers strapped together, forming a dark, looming mass. From some angles it forms the silhouette of a hulking bar chart. From others, it glowers like a coffin, ready to swallow the dainty Chrysler building that trembles in its shadow. It is New York’s final boss, a brawny, bronzed behemoth that now lords it over the city with a brutish swagger.

Fittingly, this is the new global headquarters of JP Morgan, the world’s biggest bank. The firm enjoys a market capitalisation of $855bn (£645bn), more than Bank of America, Wells Fargo and Citigroup’s combined, and it looks as if it might have swallowed all three inside its tinted glass envelope. Last year, for the first time, it made more than $1bn a week in profits. Chairman and chief executive Jamie Dimon likes to boast of its “fortress balance sheet”, and he now has an actual fortress to go with it – built at a cost, he revealed at the opening, of around $4bn. He has certainly made his mark. It would be hard to design a more menacing building if you tried.

They wrestled steel beams, hung off giant hooks and tossed red hot rivets – all while ‘strolling on the thin edge of nothingness’. Now the 3,000 unsung heroes who raised the famous skyscraper are finally being celebrated

Poised on a steel cable a quarter of a mile above Manhattan, a weather-beaten man in work dungarees reaches up to tighten a bolt. Below, though you hardly dare to look down, lies the Hudson River, the sprawling cityscape of New York and the US itself, rolling out on to the far horizon. If you fell from this rarefied spot, it would take about 11 seconds to hit the ground.

Captured by photographer Lewis Hine, The Sky Boy, as the image became known, encapsulated the daring and vigour of the men who built the Empire State Building, then the world’s tallest structure at 102 storeys and 1,250ft (381m) high. Like astronauts, they were going to places no man had gone before, testing the limits of human endurance, giving physical form to ideals of American puissance, “a land which reached for the sky with its feet on the ground”, according to John Jakob Raskob, then one of the country’s richest men, who helped bankroll the building.

Stern, credited with designing 15 Central Park West, sought to design buildings that invoked pre-war splendor

Robert AM Stern, an architect who fashioned the New York City skyline with buildings that sought to invoke pre-war splendor but with modern luxury fit for billionaires and movie stars, has died at the age of 86.

Dubbed “The King of Central Park West” by Vanity Fair, Stern was credited with designing 15 Central Park West that, in 2008, was credited as being the highest-priced new apartment building in the history of New York.

The number of rental properties without a lounge is surging, and people are having to eat and socialise in kitchens, bedrooms and stairwells. How can you relax and build community without a communal area?

‘Without a living room, your world becomes quite small,” says Georgie, a 27-year-old climbing and outdoor instructor. When she moved into a house-share with four strangers in 2023, she wasn’t worried about the lack of a living room. “I kind of thought it would be fine – I didn’t have that many options, and the house was by far the cheapest.”

The property she rented was in Leeds, and what had once been a lounge had gradually been turned into an inaccessible storage space. To make things worse, the kitchen was tiny: “By the time you put a table against the wall, you couldn’t sit or stand without getting in the way of the sink or the oven.”

A RIBA report says “stark displays of sexism” are driving women from the profession. If we don’t fight this systemic misogyny, we won’t just lose dazzling designs – we’ll have a world only fit for 6ft tall policemen

If one were to think “Brazilian 20th-century modernist genius”, one might alight on Oscar Niemeyer, but see also the Italian émigré Lina Bo Bardi, who developed an Italian-style modernism with a Brazilian accent in her adopted homeland. Her Teatro Oficina, in São Paulo, was named by this paper as the best theatre in the world.

Five hundred miles away is one of my favourite residential buildings, A la Ronde; an eccentric 16-sided home in Exmouth, Devon. It was designed in 1796 by Jane and Mary Parminter (two “spinster” cousins, in the words of the National Trust) and relative John Lowder. The cousins, who were not professionals, had been inspired by their Grand Tour of Europe (an unusual undertaking for women at the time) and, in particular, the Basilica of San Vitale in Ravenna, Italy. The critic Lucinda Lambton described the cottage orné with Byzantine inflection as embodying “a magical strangeness that one might dream of only as a child”.

Home perched in Hollywood Hills, constructed for $37,500 and made famous by Julius Shulman photo, listed for $25m

The Stahl house – a paragon of Los Angeles mid-century modern architectural design – is for sale for the first time in the home’s history.

The cantilevered home, perched in the Hollywood Hills, hit the listings market this week. The asking price: $25m.