From Revival to Radical: Ten Styles from 1749 to 1988

Begins in mid-eighteenth-century England at Horace Walpole's Strawberry Hill as an antiquarian taste, then becomes the dominant style for churches, universities and public buildings. The Houses of Parliament, designed by Charles Barry with Augustus Pugin after the fire of 1834, are its most consequential built expression.

Not one style but a series of revival styles current during Queen Victoria's reign from 1837 to 1901, among them Gothic Revival, Italianate, Second Empire, Romanesque Revival and Queen Anne. Calling a building Victorian names its era, and what unites the styles is a shared emphasis on ornament over the plainer classicism of the Georgian period.

Named for the Second French Empire of Napoleon III and defined by the mansard roof, a steep four sided roof with a flat top and dormer windows. It surged back into fashion during Baron Haussmann's renovation of Paris from the 1850s, and the roof gave usable attic rooms.

Grand academic classicism taught at the Ecole des Beaux-Arts in Paris, mixing French neoclassicism with Renaissance and Baroque ornament. It reached its fullest expression under the Second Empire and Third Republic, and Grand Central Terminal in New York, completed in 1913, is a celebrated American example.

After the fire of 1871, Louis Sullivan, Daniel Burnham, William Le Baron Jenney and Dankmar Adler rebuilt Chicago's commercial core with the metal frame and safety elevator. The Home Insurance Building of 1885 is usually credited as the first complete statement, though earlier iron-framed buildings complicate any claim to an undisputed first skyscraper.

Frank Lloyd Wright led this regional style from Chicago from around 1900, building low and horizontal with deep eaves and ribbons of art-glass windows. It rejected applied historical ornament, and his 1910 Wasmuth Portfolio carried the work to Germany.

The architectural wing of the Russian and Soviet avant-garde of the 1920s, seeking a non-historical language of building for a new society, with workers' clubs and communal housing in place of monuments. Tatlin's unbuilt Monument to the Third International and Melnikov's Moscow buildings are its best known statements, and Soviet taste turned back to classicism by the mid-1930s.

The postwar style of exposed raw concrete, named from the French beton brut that Le Corbusier left visible at the Unite d'Habitation in Marseille. From the 1950s to the 1970s it shaped universities, housing estates and city halls worldwide, admired for honesty and attacked for bleakness.

Puts a building's structure and services, ducts, pipes, lifts and bracing, on outward display, born from Richard Rogers and Renzo Piano's Centre Pompidou in Paris. It keeps Brutalism's honesty about how a building is made but replaces raw concrete with exposed steel, glass and color.

Named by the 1988 Deconstructivist Architecture exhibition at the Museum of Modern Art, which gathered Frank Gehry, Zaha Hadid, Rem Koolhaas, Peter Eisenman, Daniel Libeskind, Bernard Tschumi and Coop Himmelblau. Computer-aided design later made its fragmented, unstable-looking forms buildable, the Guggenheim Bilbao most famously.