The New Museum is not exactly new anymore. Upon its completion in 2007, the blocky, mesh-clad structure generated some controversy: a rainbow-hued "Hell Yes!" affixed to its facade rebelliously declared its arrival on the Bowery, the main street of the eponymous neighborhood in lower Manhattan. SANAA's eye-catching design for the the 33-year old New Museum oscillates between the Bowery's infamous past and its inevitably gentrified future.

When Denver’s commercial real estate industry outlines criteria for developing a successful project, it typically starts with whether the site provides any views of Colorado’s Rocky Mountain Front Range to the west of the city. It follows, of course, that these units hold a value premium, as owners will pay more for this look at the mountains, a source of comfort and inspiration and an iconic representation of Colorado’s strong sense of identity.

The Denver Art Museum may well be the most prominent expression of Denver’s cultural heart. Daniel Libeskind’s 146,000 sq. ft. extension to the museum, The Frederic C. Hamilton Building, was a joint venture with the Davis Partnership and houses Modern, Contemporary, Oceanic, and African Art collections. The original museum, which opened in 1971, was Italian architect Gio Ponti’s first American commission and boasted an exterior of Italian tile and the innovation of stacking its galleries vertically, which sought to combat the “museum fatigue” that resulted from traversing the long horizontal layout typical of museums at the time.

Frank Gehry's second architectural venture into New York City is also his tallest building yet. Spiraling 76 stories and enveloping 1.1 million square feet, Beekman Tower dominates the nearby Woolworth building in downtown Manhattan. Under construction since 2006, the newest addition to the city's distinct skyline is expected to open early next year, and it proves that Gehry's signature, sculptural vocabulary translates successfully into skyscraper form.

Love it or hate it, Marcel Breuer's granite-clad Whitney Museum of American Art has loomed over 75th Street and Madison Avenue in New York's Upper East Side for over 40 years. After repeated attempts to expand and add much needed gallery space, the Whitney has officially announced it is headed downtown. Renzo Piano designed a new building for the Whitney in the hip Meatpacking District adjacent to the High Line, an abandoned, elevated railway that has been converted into a highly publicized park.

Completed in 2006, the University of Cincinnati’s 350,000 sq ft Campus Recreation Center, designed by Southern California based Morphosis Architects Inc., is a successful attempt at weaving four distinctly different programs into one comprehensive building.

Visible from the Cincinnati riverfront, Daniel Libeskind’s Ascent at Roebling's Bridge towers over the Covington, Ky. skyline. Completed in 2008, the concrete and glass curtain wall clad structure is 300’-0” tall and 310,000 square feet. Twenty-two stories (one lobby, a secure parking level, an amenities level, and 19 floors of luxury condominiums) of multifamily program are included in Libeskind's first U.S. high-rise.

I recently had the opportunity to visit Bing Thom’s much talked about and long-awaited Arena Stage renovation and expansion project in Washington, D.C. With slightly more than two years of construction completed, the $125 million, 200,000 square foot project is in the final stages and is due to open its doors on schedule for the inaugural 2010/11 theater season later this fall.

Located across the street from SANAA’s Glass Pavilion at the Toledo Museum of Art is Frank Gehry’s Center for the Visual Arts. Completed in 1993 to house the University of Toledo Department of Art as well as the Toledo Museum of Art's Reference Library, the four story, L-shaped fortress like building is a prime example of postmodern Deconstructivism.

By now you have probably heard that Kazuyo Sejima and Ryue Nishizawa, partners of the Japanese architectural firm SANAA, have been awarded the 2010 Pritzker Architecture Prize. Renowned for their elegant compositions that emphasize transparency and lightness through explorations in material minimalism, Sejima and Nishizawa have emerged with an impressive body of work that includes the Toledo Museum of Art Glass Pavilion. Inspired by the news of the Pritzker award, I scheduled a trip to see the Glass Pavilion so that I could experience the qualities of design that prompted such an honor.