In drawings inspired by pop art and psychedelia, architecture floated away, tethered by wires, gantries, tubes, and trucks. In Archigram: Architecture without Architecture , Simon Sadler argues that Archigram's sense of fun takes its place beside the other cultural agitants of the s, originating attitudes and techniques that became standard for architects rethinking social space and building technology.
The Archigram style was assembled from the Apollo missions, constructivism, biology, manufacturing, electronics, and popular culture, inspiring an architectural movement—High Tech—and influencing the postmodern and deconstructivist trends of the late twentieth century.
But a reevaluation has been under way over the last ten years, showing Archigram to be still influential more than ever, actually and still relevant to thinking about the built environment. First came the exhibitions; now this full-length study by Simon Sadler, another first. Welcome back to the plug-in city Help Centre. Track My Order. My Wishlist Sign In Join. Be the first to write a review. Add to Wishlist. Ships in 15 business days. Link Either by signing into your account or linking your membership details before your order is placed.
Description Table of Contents Product Details Click on the cover image above to read some pages of this book! Preface p. All Rights Reserved.
More Books in Architecture See All. And there are a lot more things that it can look like than it what looks like.
Surely, there are legitimate colors for buildings beyond just grey or biscuit brick. Anderson: Broadening the vocabulary of architecture means absorbing elements then from overlooked parts of the built environment and engineering Cook: A hovercraft gets incorporated as a constituent piece of the apparatus. An airship. A jetpack. A lunar module. I feel then as now the vocabulary of architecture is far too limited. Crompton: What we suffered for, at that time, was that it was all seen as a particular style.
Critics ignored, for example, one set of drawings by Peter with domestic components where they could be Tudorbethan or Oriental, whatever you want.
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The Space Program reinforced our ideas, as did the work of someone like Christiaan Barnard who was developing heart transplants at the time. He had to work out not just one element but whole systems. We were experimenting in order to bridge what was not possible and what might become possible.
Anderson: The desire to expand the vocabulary of architecture led beyond the shores of Britain…. That led to us contacting and working with Isozaki who literally introduced us to others in Japan at the time of Metabolism. Vienna too, with Coop Himmelb l au and Hollein. The West Coast. There was an Archigram network, I suppose. We were always interested in other people coming along and doing things.
Anderson: Thinking about depth as well as breadth, where did Archigram place itself in terms of architectural history? Greene: I thought the exciting revolutionary aspects of Modernism had completely evaporated. All the promise that you had with Russian Constructivism or Suprematism had been lost. A generation of architects like Basil Spence diluted Modernism. Some of the first architects who tried to rescue that were the Smithsons. But they must have hated us. Cook: I find myself very attracted to the German Expressionist position.
I think that was purged out.
The white streamlined Bauhaus architecture took over and that other work was pushed aside. I think Gropius and Mies were clever operators. Did you ever notice Walter Gropius always had someone very talented next to him? Not the skyscrapers but the Glass Chain , the Barcelona Pavilion. They reproduced foliage in iron and they decorated and shaped and placed funny turrets on corners and enjoyed going around the corner.
Anderson: Is the attraction the way architecture, engineering, and technology seem to overlap in Victorian structures? Cook: Partly, but they also enjoyed simply doing a doorway.
It would sort of grin at you and stick out. They enjoyed it rather than being mimsy. Interiors were enjoyed.
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They made interior elevations that were elevations. Something to look at and savor. Anderson: How did the comic book element come about? Cook: Warren did a lot of work on Archigram 4. He and I would go out to the markets every lunchtime looking for American comics and dig through piles of stuff to find material that had architectural qualities.
And some of these buildings would look like the German Expressionists who wrote in the Glass Chain; crystal palaces and that sort of thing.
Archigram: Architecture Without Architecture - Simon Sadler
Warren told me the Daily Planet building in Superman was based on a real building the artist worked beside [ the precise building is a matter of some debate ]. I was always fascinated by that; art imitating life imitating art. The idea that static architecture would lead to static lives.