AR 120

Convulsive changes in the media landscape have revolutionised architectural discourse and its dissemination. Yet within this new normal, there is still a place for long-lived,...

As the certainties of the Modernist agenda came unmoored, the AR went through its own bout of self-examination. But it rallied, negotiating its way around Postmodernism and Hi...

After a slightly exhausted period, the AR became as vigorous as ever, campaigning against mediocre philistinism and for what appeared to be ever more triumphant Modernism. But...

During the ’30s and ’40s, the AR consolidated its position as the leading English language architectural magazine, its embrace of Modernism laced with tradition an...

After a rather exhausted postwar period, new ideas were gradually embraced, and by the late 1920s, the AR became much more lively and diverse with the arrival of John Betjeman...

In the early years, The Architectural Review was very much an Arts and Crafts magazine, but it changed with the zeitgeist to become more devoted to Classical architecture and ...

Even under time and financial pressures there is an eagerness to work collectively to create and share skills to build

In the grip of a vernacular revival, the central insight of the AR’s Townscape remains pertinent

The AR’s ongoing and often eccentric enquiry into the vernacular found a home in the worlds of pleasure and leisure

Both a fascination and dissatisfaction with architectural education’s processes has preoccupied the AR

Although wary of fads, the AR has certainly had its stylistic allegiances - including those it created

The tension of the architect’s divided role in designing homes for the rich and mass housing for the poor has existed throughout the AR’s history

As the AR turns 120, Norman Foster looks back on how architecture has shaped - and been shaped by - the vagaries of technological development