As abstract art forms based on rhythm, proportion and harmony, architecture and music share a clear cultural lineage. Now, through digital expression, architecture can attain new heights of creative supremacy
A landmark new exhibition at the Canadian Centre for Architecture unearths the digital pasts of architects Peter Eisenman, Shoei Yoh, Frank Gehry and Chuck Hoberman. Exploring the particular story of four projects, taken together they show how the computer has radically changed architectural design for ever, argues Tim Abrahams
Read individually, drawings offer vivid and unique character portraits of their architectural authors. And today, argues Nicholas Olsberg, the dexterity of the hand is still unbeatable in quickly conveying an architectural idea
Techno-fetishists may have argued for a scientifically determined architecture in the ’60s and ’70s, but at the same time more politically engaged voices were calling for the reinterpretation of space as an arena for the lived experiences of the everyday
Built by Moisei Ginzburg in 1929 as a Constructivist machine for radical living, Moscow’s Narkomfin Building immediately fell foul of Stalinist orthodoxy and now rots in a climate of state neglect and apathy
The fundamental purpose of urban design is to provide a framework to guide the development of the citizen. As this AR campaign reaches its conclusion, the penultimate essay attacks the City of Doing found in modernity and calls for a return to the spatial and social richness of the City of Being - necessary for the flourishing of humanity in the 21st century
Frustrated by both expensive and labour-intensive methods of moulding concrete with steel or wooden formwork, Italian architect Dante Bini pioneered ‘air structures’: gigantic balloons that could be covered with a thin layer of concrete then inflated to form domes in a matter of hours
The Architectural Review was founded in 1896, on the cusp of the 20th century. The cover of the first issue bore the legend ‘a magazine for the artist and craftsman’, though this subsequently became ‘artist, archaeologist, designer and craftsman’, thus firmly setting its sights on Victorian polymaths everywhere
Exuding a rugged, sculptural power through form and materials, a museum of folk art in Manhattan is a luminous backdrop for the exhibits
Sutherland Lyall explores the inner workings of open community living for the elderly without the clinical aesthetics of a hospital, but instead beginning with a bare concrete structure
As the Royal College of Art continues its campus expansion south of the Thames, the AR looks back to its original coverage of the groundbreaking Darwin Building on Kensington Gore
Luis Oliveira examines Oscar Neimeyer’s Museum of Contemporary Art in Niterói, Rio de Janeiro.
Peter Buchanan critiques the state of architectural education, claiming it is neither current or credible ” not only have curricula not been revised and extended accordingly, most schools now fail even to impart adequately such traditionally crucial skills as an understanding of construction”
Hans Scharoun’s architectural reputation is re examined by Peter Blundell Jones, focusing on three programmatically innovative schools designed late in his career.
Nikolaus Pevsner defends the AR’s promotion of the Picturesque; ‘The first feeling-your-way theory of art in European history and far the greatest contribution England has made to aesthetic theory”
AR’s inter-war discoveries of Gaudi’s buildings in Barcelona and the state of “the great Church of the Holy Family”
This spiky pavilion in the landscape is a highly ingenious exploration of form and materials
The house that Mies van der Rohe built for Grete and Fritz Tugendhat in Brno, Czechoslovakia, has endured the attentions of the worst regimes of the twentieth century. The restored villa reflects the robust, enduring nature of the original design and construction.