Portra 160 or Portra 400, both are super fine grained. Both are a treat to scan, and have SOOOOOOOO much dynamic range, its nutty.
Both are derived from motion-picture technology(really the forefront of film tech r&d now, stills has to take a back seat), and LOTS of money and time has gone into making these two films some of the best ever made, period.
Fuji has basically exited the c/n film market here in the USA, not sure about the EU. Reala 100 is still available in some shops here, in 120 format. Its a nice film, but Portra has more "options" for digital post IMO.Chrome:
If you want to shoot chrome(slides), I'd use Provia 100F. Kodak IS NOW NO LONGER MAKING E-6(REVERSAL) FILM. PERIOD.
Provia has basically NO reciprocity failure, so using Tungtsen->Daylight(80A/B/C) filters is much easier, and less math has to be done to get a correct exposure
*Personally, I've always found that an 81A(slight warming) filter with Provia really helps keep the shadows/lower density areas from going blue.
Chromes are wonderful when DONE RIGHT(that means gelling lights, or doing multiple exposures gelling the lens appropriately for each light source(say, tungsten balanced recessed, but fluorescent under-the-cabinets lighting), etc... Its tricky to do, and takes lots of patience and practice(and being very light footed not to kick the tripod), but when done well, the results are really worth it. Film has done the work for you, and with a good scan and some small amount of post, you can save yourself some money, and time.
As others have mentioned, color neg film has more "oh shit" room, to a limit. I've found that with Portra 160/400, I can overexpose approx *6* stops, and still have a *somewhat* usable piece of film. 1 stop of overexposure is EASY to deal with(actually out to +3 is pretty easy to deal with), and +1 helps keep shadows from going bad(although I can pull a -3 neg back in digital post and still have *something* somewhat usable, although far from ideal, shadows are sh** though, and muddy)
Chrome is kind of "old school" now. NO TUNGSTEN BALANCED SLIDE FILM IS STILL IN PRODUCTION. What you have now is old stock if any is still on store shelves. No sense in following that lead, unless you're just interested in trying it, just to try it.
Fuji T64 *was* really nice, and takes that twilight blue light(see Kirk's post above) sky and makes it nice and saturated. I always found it a bit more "snappy" contrast-wise than Kodak's EPY(64t), which had a more neutral(IMO) palette.
Not a lot of options out there now like 10yrs ago film-wise, but what's still left can DEFINITELY do a TREMENDOUS job of getting you hi-def final results. If you're interested in committing to shooting some film for jobs, and want/need perspective control, the Fuji GX680 system, or a 4x5 camera w/ sheet film or a rollfilm back will give you the best options in terms of perspective control. And a 6x7/9->4x5 sheet when drum-scanned properly can yield HUGE files, that's if you "need" it. A DSLR w/ TS lenses these days seems to be the norm, and it seems to be more than enough quality-wise for most out there.
Sorry for the rambling on, but I'm an ardent film user, and love to see others "coming back"(if you can call it that, testing the waters maybe???) to film. Its quality is even better than when most moved to digital capture 5-10+ yrs ago. There are many reasons why film still has advantages, and for architectural/interior shooters, IMO , the most important one being: YOU DO NOT GET COLOR SHIFT when you do tilts/swings/movement(just some light falloff if you exceed the IC of your lens) like you do with digital, and with digital post, you basically have ENDLESS options. 4x5 cameras and lenses require(generally) less "technical bulls***" to worry about, and IMO, film MAKES THINGS LOOK BETTER. Not as clinically sharp, like many digital people want(think they need), but it has a "roughness" but still smooth quality that helps create something different. Also, moiré is basically ELIMINATED(even film can show it sometimes, sometimes some fabrics can optically create it, although its very rare in my case).
Shoot film while you have it easily available. If you think it'll make your work better, or help your work stand out amongst your competition, do it.
Have fun, first and foremost!