Like a streamlined sandstone-coloured satellite berthed unexpectedly in Manchester’s medieval quarter, the new addition to the country’s largest specialist music school, Chetham’s (pronounced Cheetham’s), makes a confident statement for the future. It looms seven storeys high amidst atmospheric buildings dating back as far as 600 years. 

Ever since we moved into an apartment building round the corner from Ground Zero a couple of years ago, I’ve been keeping an eye on One World Trade Center, formerly known as the Freedom Tower, soon to be America’s tallest building. Now it’s reached 92 of its eventual 105 floors at the rate of one floor a week, its octagonal steel panels covered in blast-resistant glass soaring skywards, and Condé Nast and J Crew have signed up as some of its future occupants.

Jonathan Meades’s trawl through France began with the breezy theme tune from ‘Allo ‘Allo taking an unceremonious tumble from the turntable, signalling an instant war on cliché which continued with the promise of “no Piaf, no Dordogne, no ooh la la, no checked tablecloths”. The opening was quintessentially Meades – arch, parodic, iconoclastic, ever so slightly self-mocking. If Rick Stein was watching he’d have suffered a severe case of the shakes. This was an unvarnished portrait of a nation scrubbed clean of its lipstick, powder and paint.

I’m not sure I’ve ever felt so ambivalent about a show, and so strongly both pro and con. The pros first, then. This is an astonishing, revelatory exhibition of avant-garde art and architecture in the Soviet Union in the brief but hectic period from the Revolution to the Stalinist crackdown in the 1930s.

My relationship with the artist Brian Clarke, the subject of my forthcoming film, goes back a long way: when I first filmed him for a documentary I made for BBC Two in 1993 - a film about windows as symbols and metaphors in the series The Architecture of the Imagination - I was not only struck by the outstanding quality of his work as a painter and stained-glass artist, but by the exceptionally articulate and perceptive way in which he talked about art.

I know nothing about Brazil, I have come to realise. A Sergio Mendes album here, a Gilles Peterson compilation there, a blurred memory of catching City of God on Film4 once – these do not add up to even the beginnings of insight into a country big and diverse enough to be more like a continent in its own right. As one person I meet early on in Brasilia says, asking someone to tell you what's happening in another of Brazil's regions or cultures “could be like asking someone in Athens to tell you about the scene in Helsinki”.

It took a long time for architects to embrace popular culture. I attended a talk at the Architectural Association in the mid 1970s, when someone (probably the architect Robert Venturi) waxed lyrical about shiny American diners and hot-dog stands shaped like Frankfurters and extolled the virtues of the madcap fantasies built in Las Vegas.

The High Line Park on the far west side of Manhattan, built on an old elevated train track, is a unique combination of everything New Yorkers love - fabulous views, a piece of history, a traffic-free zone (no dogs, skateboards or bicycles), unusual plantings, and the chance to gawp at people and real estate. And with the recent opening of its second section, there’s even more space to see and be seen in.

After three days' motoring and clambering around the most awesome natural landscapes I've ever seen, how could a mere concert hall in a city the size of Cambridge begin to compare?

In Tbilisi, Georgia, artists and art historians are calling for the Government to stop destroying their classic Old Town with its winding streets and wooden balconies. New organisations have been formed, exhibitions held to publicise this creeping eradication of history. Now another grand, once-protected building, the former Institute of Marxism and Leninism, has appeared in the cross-hairs.