By Simon Sadler
Within the Sixties, the architects of Britain’s Archigram crew and Archigram journal became clear of traditional structure to suggest towns that circulate and homes worn like fits of garments. In drawings encouraged through pop artwork and psychedelia, structure floated away, tethered through wires, gantries, tubes, and vehicles. In Archigram: structure with out structure, Simon Sadler argues that Archigram’s feel of enjoyable takes its position beside the opposite cultural agitants of the Sixties, originating attitudes and methods that grew to become normal for architects rethinking social area and development know-how. The Archigram kind was once assembled from the Apollo missions, constructivism, biology, production, electronics, and pop culture, inspiring an architectural movement—High Tech—and influencing the postmodern and deconstructivist tendencies of the overdue 20th century.
Although so much Archigram initiatives have been on the limits of threat and remained unbuilt, the six architects on the middle of the move, Warren Chalk, Peter cook dinner, Dennis Crompton, David Greene, Ron Herron, and Michael Webb, turned a focus for the architectural avant-garde, simply because they redefined the aim of structure. Countering the routine construction perform of atmosphere partitions and areas in position, Archigram architects desired to give you the gear for amplified dwelling, and so they welcomed any cultural rearrangements that will take place. Archigram: structure with no Architecture—the first full-length serious and ancient account of the Archigram phenomenon—traces Archigram from its rediscovery of early modernist verve via its relationship of scholars, to its ascent to foreign notoriety for advocating the “disappearance of architecture.”
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Additional info for Archigram: Architecture without Architecture
22). ” 78 The exposure of pedestrians to the weather as they hiked along the bridges, ridges, and plateaus of the South Bank emphasized the designers’ preoccupation with styling the building as some sort of natural or organic feature. Alluding to geology and weathering, sheer cliﬀs of shuttered wood-grained concrete were oﬀset by overscaled rounded deck walls, and in Archigram’s self-penned 1971 anthology the South Bank Centre was covered in a discussion of the group’s fascination with “mounds” and “crusts” (themes examined in Archigram no.
67 For its design, Warren Chalk and Ron Herron were joined in the lcc Special Works Division by Dennis Crompton. 68 Designed by Chalk, Herron, Crompton, and John Attenborough for group leader Norman Engleback,69 the South Bank Arts Centre finally juxtaposed the new brutalism with the great achievement of the earlier generation of British modernists, the Royal Festival Hall (1948‒1951), which was being remodeled at the same time. Contrary to the Festival Hall’s bright, civic, slightly nautical and unerringly rational confidence, the South Bank Centre truculently crumbled its two shuttered-concrete concert halls (the Queen Elizabeth Hall and Purcell Room) and gallery (the Hayward) into the riverside.
140 Nature, adopted by Archigram no. 1 as another model, was in a condition of constant regeneration and thus unencumbered by history. Nature was the analogue of youth, a visible energy erupting underneath the establishment. Drawing upon one of the old dualities of Western thought, David Greene wrote a poem for Archigram no.