The organisation's visual archive raises intriguing questions about the line between social study and snooping, says Isabel Stevens
MoMA presents a compelling case, says Claire Barliant, for seeing Le Corbusier as a lover, not a conqueror of nature
The painstaking, at times obsessive, work of self-taught artists and inventors presents a poignant vision of the future says Will Wiles
Elisabeth Blanchet offers a poignant study of the emergency homes that became part of the suburban British landscape, says Owen Pritchard
Icon asked a dozen experts and practitioners to nominate the people they think are, in some way, shaping the future. The resulting list of global talent is a snapshot that shows how young designers and architects are pushing the boundaries of their disciplines and trying to change the world
Glenn Adamson's latest book about craft may win over even the staunchest of crafts-haters, says craft-sceptic Edwin Heathcote
Italian collective Breaking the Mould’s collaboration with Salviati, and the resulting exhibition at London’s Aram Gallery, is a bid to revive the fortunes of glass.
Two sets of photographs – one by an outsider, another by locals – highlights Luton's sense of loss and abandonment, says Owen Hatherley
The first European retrospective of Kahn’s work in 40 years makes Owen Hatherley wonder about the architect’s place in the pantheon.
The Barbican's exhibition devoted to Britain's national fantasy figure and his secret service toys invited us to think of James Bond as a kind of design object. As the new Bond film opens, here's Will Wiles on "the drone strike in a dinner jacket".
The Musée du Quai Branly has cast contemporary artists as modern-day shamans working with the forces of disorder. But by displaying artworks next to artefacts from every continent and period of history, the show raises complicated questions about art and ethnography.
This summer blockbuster is the largest UK exhibition on the Bauhaus in over 40 years. The exhibition traces the life and work of Bauhaus' students and masters, and introduces an insightful way of looking at the famous school. Here's Owen Hatherley's review.
With the 1948 “Austerity Olympics” as its starting point, the V&A surveys 60 years of British design, architecture and fashion. From punk posters to Laura Ashley florals, the exhibition questions contrived notions of national identity to reveal a country caught between modernity and nostalgia. Here’s our review.
James Pallister flicks through a pile of super-niche publications and wonders how long they’ll last.
A retrospective of the artist’s work highlights the tension between the agony of loss and the futility of marking it, says Charles Holland.
Infinite ambition was the strength and the weakness of the Russian constructivists, says Agata Pyzik.
A rollercoaster ride through three decades of cynicism exposes the crassness of an era best left behind, says William Wiles.