Descendant of 19-century artist demands removal of Marc Chagall’s 1960s canvasses that cover original fresco

In 1962, the then French culture minister, André Malraux, reportedly bored by the ballet he was watching at Paris’s opera house, raised his eyes to the classical ceiling and decided it needed a makeover.

In his ennui, Malraux thought his friend and artist Marc Chagall, sitting next to him at the Palais Garnier at the time, was the man for the job and commissioned him to make a new ceiling.

It is one of the world’s finest collections, full of Monets, Miros and Picassos. But is the great Swiss architect’s extension for the Beyeler Foundation a worthy addition? Or is it a bit luxury boutique?

In the early 1960s, when Peter Zumthor was a teenage apprentice in his father’s cabinet-making workshop, he designed his first cupboard. He later recalled the satisfaction of fitting the door so perfectly that it closed “with a special sucking sound”, saying his father instilled in him “the Basel pride in the well-built object”.

Six decades on, with a fleet of globally celebrated projects to his name, the 83-year-old Swiss architect is back in Basel, beaming with the same local pride. He is gazing out at his latest well-built object, which is also his first project here: a monolithic new gallery that looks chiselled from the earth, its layers of pale crumbly concrete hammered into shape, its big oak and bronze doors – their handles wrapped with leather cord – closing with that same satisfyingly expensive Swiss swoosh.

Sixty top architecture firms from around the world have mooted 500 eye-catching projects across Albania, sparking fury and protests. Now they’re being celebrated in an 800-page tome that some are calling ‘a smoking gun’

Last autumn, I was sitting with a prominent architect in New York, when their phone wouldn’t stop buzzing. They finally checked the messages and chuckled. “Oh, the Albanian Architecture Army chat is blowing up again,” they said. “It looks like Edi has some new projects for us.”

Edi was Edi Rama, the prime minister of Albania since 2013, who has been presiding over the rapid transformation of the former communist country with a fleet of glamorous building projects. There are twisting towers in Tirana, along with prize-winning public spaces, striking coastal resorts, and many more dazzling visions on the way – all now brought together in a hefty new book, The Albanian Files.

From a neo-baronial country house with turrets in acres of grounds in Scotland to a modernist tower block in a bustling part of London

Residents say shop threatens Charles Rennie Mackintosh’s last surviving tearoom months after vape shop blaze nearby

In the heart of Glasgow city centre, nestled between shops, bars, offices and hotels, sits the Mackintosh Tearooms, the last surviving tearoom designed by Charles Rennie Mackintosh and one of the city’s most treasured heritage sites.

But last week passersby noticed a shiny new shopfront next door to the 1903 category A-listed building: hot-pink capital letters on a white plastic sign, advertising a vape and mobile phone repair shop.

Japan once had a reputation for statement architecture – yet many buildings have been torn down since 2000. A new book reminds us of their futuristic beauty

At Roland Garros airport on Réunion island, the ceiling design funnels a light tropical breeze into the terminal

At the arrivals terminal at Roland Garros airport on Réunion island, visitors are greeted by floor-to-ceiling windows framing the lush green mountains of the French Indian Ocean territory.

What they may have also expected was the icy chill of air conditioning; this island just off Madagascar sits in the tropical zone to the south of the equator. But instead, the terminal is cooled by a light tropical breeze, the result of natural ventilation built into its unique design.

In a novel approach to urban housing, some residents have pooled their time and finances into redeveloping single dwellings. It’s a herculean task – with feel-good results

Melbourne architect Chris Gilbert had run out of eggs. He texted a neighbour and within minutes, he says, their child arrived with some. “Then I made brownies and my kids took some over to the neighbours’ house.”

It sounds like a flashback to a bygone era, but this neighbourly exchange took place this month, at the Davison Collaborative, a novel housing project in the Melbourne suburb of Brunswick. In 2020 the townhouse development replaced one past-its-prime brick veneer house with three architecturally designed three-bedroom family dwellings, trebling the lot’s density and future proofing it “for at least the next 50 years,” says Liam Wallis, from the sustainability focused property development and consultancy company Hip V. Hype.

Perched above the clouds in northern Italy, Santnerpass refuge doesn’t just look stunning. It’s a marvel of eco-building – and vegetarian cuisine

‘I think my boots are falling apart!” shouts Nigel just as we hit the pinnacles, a whole range of them jutting up and out from the mountainside, all thrillingly tall, spiky and knobbled. Through them we painstakingly step, fingers aching in gloves, heads sweating in helmets – squashing up narrow chimneys, squeezing through mighty boulders and inching along slender ledges on a twisting path that’s only just discernible through swathes of sharp white scree.

I know how Nigel’s boots are feeling: the going is far harder than I was expecting. This is only the first day of our annual trip to the Dolomites, a vast range of breathtaking sawtooth peaks in northern Italy, but my head’s already full of the thought I have every year as we start out: “If only you’d got fitter.”

Study challenges belief that temple’s curves were designed to correct optical illusions that would have ruined its clean lines

A mathematician has uncovered what may be one of the longest-running myths in history after studying optical illusions and the Parthenon, the famed Greek temple that overlooks Athens.

Scholars have marvelled at the building on the Acropolis hill for more than 2,000 years and heaped praise on its architects for their clever use of geometry. Its subtle curves are said to correct optical illusions that would have otherwise ruined the Parthenon’s clean lines.

A bloated ballroom, a six-storey military HQ, a helipad-cum-cocktail patio, a gilded angel on a giant arch honouring himself … our architecture critic deplores the decorator-in-chief’s mutilation of Washington

When you have a developer as US president, you might expect some zhooshing up of the capital. A few buildings renovated, maybe some parks replanted. But when you have a megalomaniac builder in charge, things can get out of hand. A decade ago, when Donald Trump was first elected, I asked what it might mean for the US to be led by a real estate tycoon whose career had left a trail of broken promises, angry buyers and endless lawsuits, with rules flouted, heritage trampled and the world pockmarked by a fleet of aspirational towers clad with a flimsy veneer of luxury. The answer is worse than I could have imagined.

With the air of a nightmarish Hollywood sequel, Trump 2 has seen the president’s true architectural ambitions unleashed: The Blingpire Strikes Back. As America’s self-styled decorator-in-chief, Trump has not only overseen the gilded mutilation of the White House, but embarked on the Mar-a-Lagofication of Washington DC itself, applying his gold paintbrush to statuary, daubing ponds with flaking pool liner, and brewing plans for a colossal triumphal arch – all procured in a blizzard of no-bid contracts. And, in true dodgy salesman style, this programme of bauble-building is turning out to be a high-profile decoy for deeper damage being wrought elsewhere.

The European Prize for Urban Public Space’s shortlist highlights projects helping people cope with climate crisis

In the words of Joni Mitchell, the planners of many urban centres around the world “paved paradise and put up a parking lot”. The European Prize for Urban Public Space tries to show that cities don’t have to be locked in the automotive age for ever.

The prize’s latest shortlist, announced on Wednesday, highlights architectural projects that convert infrastructure for cars into spaces that help urban dwellers cope with the soaring temperatures of the climate crisis: roundabouts that have become splash pools, thoroughfares turned into green havens, and car parks into gardens.

A self-confident woman strides on to the Fourth Plinth, Nan Goldin captures sex, cats and death and even the Turner Prize shows promise this year

• See all of our unmissable autumn arts recommendations here

The most anticipated exhibition of the year centres on an embroidered epic of war and conquest that miraculously preserves an intimate window on the Norman invasion of Britain in 1066. Yet, you may find yourself simply fascinated by the artistry of the Anglo-Saxon women who used coloured wool to depict billowing sails, charging horses and King Harold’s spectacular moustache. Jonathan Jones
• British Museum, London, 10 September to 11 July

Our buildings are monuments to extraction and extreme emissions. But what if we turned from destructive concrete to timber?

• Last chance to buy the summer issue of The Long Read magazine, now with 15% off. Click here to order

I travelled to Oslo in the early autumn. It felt like arriving into the future. Or, at least, a fragment of a possible future. I drove north in the quiet digital bubble of my electric rental car. In 2024, Norway became the first country in the world where electric cars outnumbered petrol cars.

A smooth, pristine motorway unfolded between farmlands and low hillsides of dense green forest. Long tunnels carried the route up above the banks of Lake Mjøsa, Norway’s largest lake. After a little more than an hour, the road curved downward to run parallel to the lakeshore.

MVRDV – the firm behind Marble Arch Mound – says Rotterdam ROCKS! will inspire visitors to live sustainably. But in an era when the greenest building is the one that already exists, this tottering cairn looks set to misfire

‘It looks like something Shrek would throw up,” sniffed one online commentator, unflatteringly comparing Rotterdam ROCKS!, the recently unveiled proposal for a waterfront site in Europe’s largest port, with the vomitings of a cartoon ogre. Designed by Dutch architectural firm MVRDV, which gave London the supremely underwhelming Marble Arch Mound in 2021, Rotterdam ROCKS! (the use of EMPHATIC CAPITALS connoting an in-your-face energy) is the winner of a major architectural competition intended to create “a new world wonder”.

But instead of a modern Hanging Gardens of Babylon or contemporary Colossus of Rhodes, MVRDV’s super slick renderings depict a pile of artificial “rocks” (or ROCKS!) stacked together in a humongously scaled tottering cairn, wreathed in suspiciously luxuriant foliage and sluiced by a preposterous waterfall.

From killings in Gaza to the alleged use of a sonic weapon on a vigil in Belgrade, the Lebanese-British artist reveals how his work for activist group Earshot is inseparable from his art

Lawrence Abu Hamdan has a double identity. He is an artist who, in 2019, jointly won the Turner prize; and one of his works is, for my money, among the most striking on show at this year’s Venice Biennale. But he is also the director of a young NGO, founded in 2023, called Earshot, which investigates human rights abuses using sound evidence. In less euphemistic language, that means, on occasion, investigating horrific killings. He and his team might analyse the direction and position of bullets Israeli soldiers have fired at emergency workers in Gaza, or build evidence that a sonic weapon was likely used to disperse a mass silent vigil in Belgrade.

The foundational work he did in this field was a project with the London-based research agency Forensic Architecture for Amnesty International. Back in 2016, he interviewed rare survivors of the unimaginably barbaric conditions in Syria’s Sednaya prison. There was a paradox at play in this murderous place – prisoners were held in complete darkness, and enforced silence, killed for making any sound. Listening was both the inmates’ only source of information, and a tool for survival and resistance. Their acute sonic memories of screams of distress and pain; keys turning in locks; bread being slapped down outside their cells; even of lice being snapped – helped Abu Hamdan and his colleagues build a picture of the prison architecture and its conditions, nearly a decade before it was opened to the light after the fall of the bloody Assad regime.

Five hundred people turn up to adopt plants from conservatory that will reopen in 2030 after renovation project

Above the waxy monstera leaves and bright pink hibiscus flowers in the Barbican conservatory hangs a giant net to catch the panes of glass that are at risk of falling from the ceiling on the unwitting plant lovers below.

This precarious situation has caused the estate to shutter its greenhouse on the third and fourth floors for three years so a full refurbishment can take place. But the hiatus has a silver lining for many of those who visited on Wednesday to give the plants from the conservatory a new home.

It has been likened to a monster, an oil rig – and the Parthenon. Now, for its 40th birthday, the astonishing London landmark has joined the Open House festival, to grant admirers a rare look around the inside

In his 2012 book A New Kind of Bleak, the critic Owen Hatherley called it “monstrous, compelling” and utterly messed-up. Back in the 1980s, a then Prince Charles suggested it had been inspired by a North Sea oil rig. But none of this stopped it from becoming, in 2011, the youngest ever building to be given Grade I-listed status in the UK.

And now, as part of its 40th anniversary celebrations, the Lloyd’s building will open to the public for the first time since 2014 for one day only during London’s Open House festival. The iconic building in the heart of the financial district was designed by architect Richard Rogers to house the global insurance marketplace. Its futuristic facade has been a celebrated part of the City of London skyline since it opened in 1986, but the interior is rarely seen by the public. Visitor galleries with a view of the trading floor have long been shut for security reasons.

Creating homes for Frank Sinatra, Cary Grant and Lucille Ball made Williams a star. A trio of new exhibitions shows he belongs among the 20th century’s greats

When you fly into the Los Angeles airport LAX, a spindly space-age contraption is the first thing that greets your eyes outside the window. Built in the early 1960s, the Theme Building – which once attracted travelers to its in-house restaurant, designed by Walt Disney Imagineering, towering above airfields – was built by a supergroup of architects whose structures helped define the city’s midcentury aesthetic: William Pereira, Welton Becket, Charles Luckman and Paul Revere Williams.

Of these architects, Williams, the first licensed Black architect in California, arguably shaped the contours of Los Angeles most deeply. In the six decades before his death in 1980, Williams completed an estimated 3,000 structures ranging from single-family residences, commercial buildings, affordable housing projects, the Los Angeles county courthouse, a reimagining of the now-razed Ambassador hotel and opulent homes for celebrities including Frank Sinatra, Barbara Stanwyck and Lucille Ball and Desi Arnaz. Perhaps most iconic of all is the Beverly Hills hotel; Williams led its renovation, and its recognizable curlicued sign is scrawled in Williams’s own handwriting.

When temperatures get to 40C inside, and French building regulations won’t even allow shutters, these tenants’ listed homes are simply unlivable

The population of Firminy, south-east France, has been dwindling for decades. Its recent history is one of factory closures in a region built by steel, and locals tell me that many people leave for better opportunities in neighbouring Saint-Étienne, or to live in the Haute-Loire’s countryside.

On the top of a hill, however, stands Firminy’s pride: l’Unité d’Habitation, an imposing tower of concrete designed by Le Corbusier. The architect’s final project is an oddity – a building for people, where two-thirds of the apartments are dedicated to habitations à loyer modéré (or HLM – social housing); but also a piece of history, whose facade and roof were listed as monuments historiques in 1993.