This article argues that the UK’s vanguard magazine Architectural Design (AD) promoted appropriate technology (AT) to prompt ‘architectural thinking’ about the late-modern crisis following the collapse of post-War consensus in the welfare state and its architecture. This was to be a crisis settled by the decade’s end in postmodernism and neoliberalism, a new consensus so overwhelming that it was heralded even in AT, especially those variants drawn from the Californian libertarianism of the Whole Earth Catalog. But British AT was also drawing from the UK’s eco-socialist Radical Technology group and its publication, whose chief artist, anarchist Clifford Harper, and editor Peter Harper, contributed to AD. At the beginning of the decade, the magazine’s sub-editor Martin Pawley insisted on the role of a lateral ‘architectural thinking’ of the sort inherent to AT, which pointed to futures by turn libertarian, socialist, and social democratic (its first advocate, Ernst Schumacher, had been a stalwart Keynesian and manager of nationalisation). Beyond politics per se, paradox and analogy were keynote to the decade’s epistemological uncertainty, from the ‘wickedness’ besetting design as a ‘problem-solving’ activity, to a post-structuralism eroding the long Enlightenment project, to a post-colonialism challenging Eurocentric technologies of exploitation. Indeed, AD could position design and AT as ‘non-aligned third way’ much as the so-called Third World indicated a ‘third way’ between the capitalism and communism of the so-called First and Second Worlds.