Archigram - The Book

Archigram 1 May 1961

ARCHItecture–TeleGRAM – the first edition, two sheets of paper, 204 x 305 and 365 x 300 mm, stapled together. Black print on white with a red potato print.

About 400 copies. Price: sixpence How was it then? – 25, Gloucester Place – James Cubitt – an architect who never went on site – Stefan Buzás, Hungarian – the elegant tasteful interiors – Fello Atkinson.

So there it was in a basement fuelled by the odour of a dyeline print machine that P Cook and D Greene found themselves at neighbouring wooden drawing boards. Two provincial boys, one from the seaside, the other from the Midlands, one confident and energetic, sociable, brilliant draughtsman, the other doubtridden, slothful and too shy. However a strange unspoken synergy between these two. A shared suburban upbringing producing a shared anger, a shared desire to escape the conventions of a derelict Modernism, a shared belief that a new generation of young architects who were challenging the status quo were being denied a voice.

So there it was. ‘Hey David, isn’t this great?’ ‘Yes Peter, but look at this.’

So it was, at 59 Aberdare Gardens, Archigram came into, could I say, being.

Appropriately in a suburban street, shrubbery everywhere, gentle and quiet.

Perhaps gentleness and quiet are the best incubators of anger, of a desire to breathe out. Anyway Peter, as I remember it, at the Fish Restaurant, it was pleasure not anger we sought, an opposition to the dreary repetitious mantras of Modernism.

Form follows function, no it doesn’t it follows idea, it follows a desire for architecture to be cheerful.

Archigramers trained in the traditional way, so pragmatic. Screw the theory see my drawings! Let our ideas infect your brain. So it was, admiring the building under construction not the finished thing! Wanting architecture to be something pure, unsettling, technically aspiring, beautiful, strange, annoying, temporary.

Then the others, I don’t remember how it grew, was it Euston? I remember going to a party in Highgate, Mike living in a garden shed (nice shed), leaving a bottle of whisky in a gully and it disappearing but why was I there? Were you? So many refugees from Dorset? Strange.

Then Warren (his amazing record collection and sound system), Dennis, Ron, how did it all accrue into Archigram?

Does it matter, somehow there it was, Nottingham, London, Blackpool, Bournemouth, Henley, Manchester, this geographical porridge, diverse ages, locations, but all having a relentless education in the reality, the practical domain of architecture, is that it?

A disperse family of personalities so diverse that fusion might have seemed impossible.

Was it ever fusion, perhaps not, but a strange love affair?

So much shared, so much in common, yet so little, yet? As in all love affairs there was an unspoken understanding, I show you this image and I know you will smile with visible approval.

There it was and what, fifty years later?

DG

Archigram 1 May 1961

ARCHItecture–TeleGRAM – the first edition, two sheets of paper, 204 x 305 and 365 x 300 mm, stapled together. Black print on white with a red potato print.

About 400 copies. Price: sixpence How was it then? – 25, Gloucester Place – James Cubitt – an architect who never went on site – Stefan Buzás, Hungarian – the elegant tasteful interiors – Fello Atkinson.

So there it was in a basement fuelled by the odour of a dyeline print machine that P Cook and D Greene found themselves at neighbouring wooden drawing boards. Two provincial boys, one from the seaside, the other from the Midlands, one confident and energetic, sociable, brilliant draughtsman, the other doubtridden, slothful and too shy. However a strange unspoken synergy between these two. A shared suburban upbringing producing a shared anger, a shared desire to escape the conventions of a derelict Modernism, a shared belief that a new generation of young architects who were challenging the status quo were being denied a voice.

So there it was. ‘Hey David, isn’t this great?’ ‘Yes Peter, but look at this.’

So it was, at 59 Aberdare Gardens, Archigram came into, could I say, being.

Appropriately in a suburban street, shrubbery everywhere, gentle and quiet.

Perhaps gentleness and quiet are the best incubators of anger, of a desire to breathe out. Anyway Peter, as I remember it, at the Fish Restaurant, it was pleasure not anger we sought, an opposition to the dreary repetitious mantras of Modernism.

Form follows function, no it doesn’t it follows idea, it follows a desire for architecture to be cheerful.

Archigramers trained in the traditional way, so pragmatic. Screw the theory see my drawings! Let our ideas infect your brain. So it was, admiring the building under construction not the finished thing! Wanting architecture to be something pure, unsettling, technically aspiring, beautiful, strange, annoying, temporary.

Then the others, I don’t remember how it grew, was it Euston? I remember going to a party in Highgate, Mike living in a garden shed (nice shed), leaving a bottle of whisky in a gully and it disappearing but why was I there? Were you? So many refugees from Dorset? Strange.

Then Warren (his amazing record collection and sound system), Dennis, Ron, how did it all accrue into Archigram?

Does it matter, somehow there it was, Nottingham, London, Blackpool, Bournemouth, Henley, Manchester, this geographical porridge, diverse ages, locations, but all having a relentless education in the reality, the practical domain of architecture, is that it?

A disperse family of personalities so diverse that fusion might have seemed impossible.

Was it ever fusion, perhaps not, but a strange love affair?

So much shared, so much in common, yet so little, yet? As in all love affairs there was an unspoken understanding, I show you this image and I know you will smile with visible approval.

There it was and what, fifty years later?

DG

David GREENE 1958

Peter COOK + Gordon SAINSBURY 1960

MOSQUE

PICCADILLY CIRCUS COMPETITION

In 1959 the city of Baghdad did not carry the intense narrative that it does today. I chose it as a location because I knew that, like myself, none of the teaching staff had been there. At that time there was only one mosque in England – in Woking, Surrey.

Previously I had seen some very beautiful black-and-white photographs of Baghdad. Some were taken from the air and very clearly showed an extraordinary pattern of streets, alleys, roads, houses and courtyards. Within this patchwork that ran down to the banks of the Tigris there was a gap, a large empty space. I made it my site – a good place to build a mosque – and found all the relevant climatic information.

At the same time I had been asked to submit a topic for my diploma thesis and I was intent on finding the simplest functional brief that I could. I was intrigued by the mosque as a type because as far as I could judge the liturgical requirements were minimal. There are only six main elements to such a building: the maksura (prayer room), the mihrab (a niche or impression of a door sunk in the wall to indicate the direction of Mecca), the minaret, the liwan (an arcaded entrance courtyard), the mida-a (a fountain and pool for washing) and the minbar (the pulpit from which the chapters of the Koran are read). I added a madrasa (a school adjoined to a mosque).

These facts about the building's function allowed a reduction of the project to as unfettered an exploration of shape as possible. That way I could not be criticised for errors of plan arrangement or omissions of rooms, but only on the basis of shape, surface and structure. It was this latter aspect of the project that formed the method (for better or worse) which I scrupulously followed in all subsequent work. Structure, in this context, was meant to include conceptual structure, particularly with reference to technology, materials and technique.

The technical origins of the mosque are not remarkable. They rely heavily on the ferrocimento methods developed by Pier Luigi Nervi. But unlike his structures, which often employed the prefabrication of curved parts, the mosque was intended to present a continuous surface of complex curves: the uninterrupted skin of Modernism. Unbeknown to me, Mike Webb was making his Furniture Manufacturers Association Headquarters in High Wycombe using the same fabrication methods.

It would be possible to develop in this scribbling the historical origins of the structural diagrams, which were a careful representation of the Gothic section wrapped around itself into a hyper-Baroque object blurring wall-vault-ceiling-floor-land into a continuous flow. I saw it as the style that was to exceed the manic feats of late Gothic structure. It was a super-PerpendicularhyperBaroque building in its utter reliance on structure for its effects. Some paintings of the outside by Lottie Spearpoint and the original model have been lost.

DG 12

13

David GREENE 1958

Peter COOK + Gordon SAINSBURY 1960

MOSQUE

PICCADILLY CIRCUS COMPETITION

In 1959 the city of Baghdad did not carry the intense narrative that it does today. I chose it as a location because I knew that, like myself, none of the teaching staff had been there. At that time there was only one mosque in England – in Woking, Surrey.

Previously I had seen some very beautiful black-and-white photographs of Baghdad. Some were taken from the air and very clearly showed an extraordinary pattern of streets, alleys, roads, houses and courtyards. Within this patchwork that ran down to the banks of the Tigris there was a gap, a large empty space. I made it my site – a good place to build a mosque – and found all the relevant climatic information.

At the same time I had been asked to submit a topic for my diploma thesis and I was intent on finding the simplest functional brief that I could. I was intrigued by the mosque as a type because as far as I could judge the liturgical requirements were minimal. There are only six main elements to such a building: the maksura (prayer room), the mihrab (a niche or impression of a door sunk in the wall to indicate the direction of Mecca), the minaret, the liwan (an arcaded entrance courtyard), the mida-a (a fountain and pool for washing) and the minbar (the pulpit from which the chapters of the Koran are read). I added a madrasa (a school adjoined to a mosque).

These facts about the building's function allowed a reduction of the project to as unfettered an exploration of shape as possible. That way I could not be criticised for errors of plan arrangement or omissions of rooms, but only on the basis of shape, surface and structure. It was this latter aspect of the project that formed the method (for better or worse) which I scrupulously followed in all subsequent work. Structure, in this context, was meant to include conceptual structure, particularly with reference to technology, materials and technique.

The technical origins of the mosque are not remarkable. They rely heavily on the ferrocimento methods developed by Pier Luigi Nervi. But unlike his structures, which often employed the prefabrication of curved parts, the mosque was intended to present a continuous surface of complex curves: the uninterrupted skin of Modernism. Unbeknown to me, Mike Webb was making his Furniture Manufacturers Association Headquarters in High Wycombe using the same fabrication methods.

It would be possible to develop in this scribbling the historical origins of the structural diagrams, which were a careful representation of the Gothic section wrapped around itself into a hyper-Baroque object blurring wall-vault-ceiling-floor-land into a continuous flow. I saw it as the style that was to exceed the manic feats of late Gothic structure. It was a super-PerpendicularhyperBaroque building in its utter reliance on structure for its effects. Some paintings of the outside by Lottie Spearpoint and the original model have been lost.

DG 12

13

Michael WEBB 1958

FURNITURE MANUFACTURERS BUILDING

‘Like some prehistoric monster in the process of shuffling off its vestigial exoskeleton’ was how James Stirling described the project at a 4th year crit. The school was the Regent Street Poly and the year 1958. We had been ‘invited’, in the quaint parlance of our instructors, to design the headquarters of an Association of Furniture Manufacturers in High Wycombe.

Two of us, John Davidson and myself, had become interested in Pier Luigi Nervi’s experiments with ferrocimento and in the Endless House of Frederick Kiesler, the influence of which determined the form of our tectonic response to the invitation.

At the same time, we dubbed Nervi and Kiesler as the fathers of a new movement in architecture: Bowellism.

The name derives from the text of a 1960 BBC radio broadcast in which the noted critic and historian Nikolaus Pevsner held forth regarding the state of modern architecture in Britain.1 All was well, apparently, except for certain disturbing trends in the schools. I listened to the lecture and remember Pevsner uttering the words ‘like bowels connected by bits of gristle’. However, thanks to the erudition of Professor Robin Middleton, here is a part transcript of the lecture in question that was printed in The Listener of 16.2.1961:

Front and side elevation of the building. Graphite shading added to a working drawing ‘on tracing paper.’ (a requirement at the Poly in the first term of the 5th year 1960). While the design looks stiff as a result of the need to show how it might be built, advantage is taken of the frame to allow the programmatic requirements to be separated from each other by a layer of air.

Visionary Architecture exhibition. Curated by Arthur Drexler, MoMA New York 1961. View

of part of the installation. The means by which a drawing was made in days predigital determined that the eye be roughly 45cm. from the ‘artwork’. The question was always: did the image of the drawing hold up when viewed from across a room or a gallery? How do you think the distant view shown here is complicated by Drexler’s nice idea to present all of the work in the show as giant +500 per cent blow ups?

The controls of function as established in the first third of this century are now relaxed; how fatally relaxed you can see in the exhibitions of student work from the most go-ahead schools. Abstract sculpture of a doughy, rooty (sic) or gristly kind; not the functionally best solution, nor [an] economically justifiable solution, nor [is it] acceptable in terms of townscape.

Not a mention of bowels, unless the spoken text differed from that printed in The Listener. Could this have been a Last Year at Marienbad moment?2 The image of the project that Sir Peter chose to grace the first edition of Archigram 1 represented an early stage of the design. He has written rude words all over the image, like 'SKIN’, 'TUBISM', 'MOVE' and 'MOVEMENT’3 and with a felt-tip pen! Perhaps he wanted this monster, instead of sitting there motionless on the page, to be a living, breathing thing, where rooms are like organs that swell when full of people and tubes that can move or pulsate.

MW 1. The broadcast was the concluding lecture in the BBC Reith Lecture Series.

2. The film, directed by Alain Resnais from a screenplay by Alain Robbe-Grillet, concerns the likely falsity of memory.

3. Did P mean movement as in ‘the action or process of moving’ (OED) or as ‘a series of actions and endeavours on the part of a body of people towards some special end’ (OED) e.g.

Bowellism.

John Hodgkinson, junior to John Davidson and myself by one year at the Poly, had published prior to Archigram 1 a student mag inevitably named Polygon which included our two projects and one

by John himself … a giant armadillo-like structure, also to be found in Archigram 1. I believe John H later changed his name to Outram.

The side elevation of the building as reproduced in Archigram 1, with the image tilted at the same angle as in the magazine. Peter chose to use a very early version of the design.

14

Horizontal section cut through lecture theatre and associated vascular systems.

15

Michael WEBB 1958

FURNITURE MANUFACTURERS BUILDING

‘Like some prehistoric monster in the process of shuffling off its vestigial exoskeleton’ was how James Stirling described the project at a 4th year crit. The school was the Regent Street Poly and the year 1958. We had been ‘invited’, in the quaint parlance of our instructors, to design the headquarters of an Association of Furniture Manufacturers in High Wycombe.

Two of us, John Davidson and myself, had become interested in Pier Luigi Nervi’s experiments with ferrocimento and in the Endless House of Frederick Kiesler, the influence of which determined the form of our tectonic response to the invitation.

At the same time, we dubbed Nervi and Kiesler as the fathers of a new movement in architecture: Bowellism.

The name derives from the text of a 1960 BBC radio broadcast in which the noted critic and historian Nikolaus Pevsner held forth regarding the state of modern architecture in Britain.1 All was well, apparently, except for certain disturbing trends in the schools. I listened to the lecture and remember Pevsner uttering the words ‘like bowels connected by bits of gristle’. However, thanks to the erudition of Professor Robin Middleton, here is a part transcript of the lecture in question that was printed in The Listener of 16.2.1961:

Front and side elevation of the building. Graphite shading added to a working drawing ‘on tracing paper.’ (a requirement at the Poly in the first term of the 5th year 1960). While the design looks stiff as a result of the need to show how it might be built, advantage is taken of the frame to allow the programmatic requirements to be separated from each other by a layer of air.

Visionary Architecture exhibition. Curated by Arthur Drexler, MoMA New York 1961. View

of part of the installation. The means by which a drawing was made in days predigital determined that the eye be roughly 45cm. from the ‘artwork’. The question was always: did the image of the drawing hold up when viewed from across a room or a gallery? How do you think the distant view shown here is complicated by Drexler’s nice idea to present all of the work in the show as giant +500 per cent blow ups?

The controls of function as established in the first third of this century are now relaxed; how fatally relaxed you can see in the exhibitions of student work from the most go-ahead schools. Abstract sculpture of a doughy, rooty (sic) or gristly kind; not the functionally best solution, nor [an] economically justifiable solution, nor [is it] acceptable in terms of townscape.

Not a mention of bowels, unless the spoken text differed from that printed in The Listener. Could this have been a Last Year at Marienbad moment?2 The image of the project that Sir Peter chose to grace the first edition of Archigram 1 represented an early stage of the design. He has written rude words all over the image, like 'SKIN’, 'TUBISM', 'MOVE' and 'MOVEMENT’3 and with a felt-tip pen! Perhaps he wanted this monster, instead of sitting there motionless on the page, to be a living, breathing thing, where rooms are like organs that swell when full of people and tubes that can move or pulsate.

MW 1. The broadcast was the concluding lecture in the BBC Reith Lecture Series.

2. The film, directed by Alain Resnais from a screenplay by Alain Robbe-Grillet, concerns the likely falsity of memory.

3. Did P mean movement as in ‘the action or process of moving’ (OED) or as ‘a series of actions and endeavours on the part of a body of people towards some special end’ (OED) e.g.

Bowellism.

John Hodgkinson, junior to John Davidson and myself by one year at the Poly, had published prior to Archigram 1 a student mag inevitably named Polygon which included our two projects and one

by John himself … a giant armadillo-like structure, also to be found in Archigram 1. I believe John H later changed his name to Outram.

The side elevation of the building as reproduced in Archigram 1, with the image tilted at the same angle as in the magazine. Peter chose to use a very early version of the design.

14

Horizontal section cut through lecture theatre and associated vascular systems.

15

Archigram 2

The second Archigram. Seven pages 362 x 210mm, one double-sized and folded. Stapled and litho printed editorials and projects; front cover designed

by Peter Taylor. Price: one shilling and sixpence

May 1962

18

19

Archigram 2

The second Archigram. Seven pages 362 x 210mm, one double-sized and folded. Stapled and litho printed editorials and projects; front cover designed

by Peter Taylor. Price: one shilling and sixpence

May 1962

18

19

24

25

24

25

Peter COOK 1962

GAS HOUSE

Peter COOK + David GREENE 1961

METAL CABIN HOUSING

David GREENE 1962

SPRAY PLASTIC HOUSE Why don’t rabbits dig rectangular burrows? Why didn’t early man make rectangular caves?

Supposition: Architect … Client wanting single-storey house in the landscape.

26

Phase 1, Burrows … Purchase foamed polystyrene block 40ft by 40ft by 15ft and suitable burrowing tools, e.g. electric hedge-cutter, blowlamp. Block placed on site, burrowing commences, kids carving out playroom, etc, parents carving rest. Architects advising.

27

Phase 2, Dissolve … House burrow completed.

Enter burrow with plastic and fibreglass spray machinery, (with client) spray burrow under supervision of plastics engineer. Client chooses regions of surfaces to be transparent or translucent, the spray mixture alters accordingly.

Phase 3, Completion … Shell entered by architect and service consultants and client. Client decides upon regions of lighting, wall, floor, heating, sinks, power points.

Peter COOK 1962

GAS HOUSE

Peter COOK + David GREENE 1961

METAL CABIN HOUSING

David GREENE 1962

SPRAY PLASTIC HOUSE Why don’t rabbits dig rectangular burrows? Why didn’t early man make rectangular caves?

Supposition: Architect … Client wanting single-storey house in the landscape.

26

Phase 1, Burrows … Purchase foamed polystyrene block 40ft by 40ft by 15ft and suitable burrowing tools, e.g. electric hedge-cutter, blowlamp. Block placed on site, burrowing commences, kids carving out playroom, etc, parents carving rest. Architects advising.

27

Phase 2, Dissolve … House burrow completed.

Enter burrow with plastic and fibreglass spray machinery, (with client) spray burrow under supervision of plastics engineer. Client chooses regions of surfaces to be transparent or translucent, the spray mixture alters accordingly.

Phase 3, Completion … Shell entered by architect and service consultants and client. Client decides upon regions of lighting, wall, floor, heating, sinks, power points.

153 PC 1971 Sporting d’Été – Monte Carlo Chameleon

164 PC 1972 Adhocs Gallery

175 DC RH 1973 Blackpool Football Stadium

186 PC DC RH 1974 V&A Panels

176 RH 1973 Glasgow-Clyde Competition

187 PC RH 1974 Cassinagram

204 RH (DC) 1986 Studio Strip (+ Video)

27O

154 PC Casual City

1971

165 DC RH 1972 Calverton End Adventure Playground

206 DC RH 1986 Kawasaki Information City – Competition Mention

284

155 DC RH 1971 Leverton Place

166 DC RH 1973 Malaysia Exhibition 288

156 PC DC DG RH 1972-73 “Cheer up It’s Archigram” ICA Exhibition

167 DC RH 1973 Cranbourne Court – Coach House

177 PC 1973 Bump, Lump + Secret Garden

188 PC 1974 House of the Seven Veils

292

29O

178 PC 1973 Seaside Stilts

189 RH 1974 Suburban Sets

207 DC RH 1989 Aquapolis Barcelona (Video)

208 DC + Group 1994 A Guide to Archigram Publication

286

157 PC DC RH 1972 Summer Session ‘72

168 PC DC RH 1972-73 Margate Study

179 PC RH 1973 Expro 1 – Olympia

190 PC Sponge

1974

209 DC + Group 1998 Concerning Archigram Publication

279

158 PC DC RH 1972

AA 125 Exhibition

159 RH

1972 Tuning London

169 RH

1972 Trocadero Study

170 PC

1973 Prepared Landscape

180 RH

1974 Mint Square Housing Competition

181 PC

1974 Mint Square Housing Competition

191 RH

1975 Serpentine Video Show

212 PC DC RH 1994-

Archigram: Experimental Architecture 1961-1974 Exhibition

192 DC RH 1975

161 PC

1972 Orchard Place

162 DC RH 1972

Cranbourne Court for Rod Stewart

171 RH 1973 Irish Industrial Gas

172 RH

1973 Simulation No 136HE 28.CD.560

173 PC DG 1973

182 WC 1974 Mint Square Housing Competition

183 RH

1974

New Globe

184 PC

1974

Lincroft

Art Net

Garden Exhibition, Commonwealth Institute

174 RH 1973 Northampton Civic Centre Competition

185 PC DC RH 1974 Soria Moria Trondcomp

193 RH 1975 Trøndelag Teater

194 DG

1973 World’s Last Hardware Event

195 Group

1974 Archigram Opera

285

163 PC 1972 Con. Ed. New York

298

201 DG 1973 Searching for a Perfect Location for an Architectural Suicide

A

Addhox 265 Aillaud, Emile 143 Allinson, Ken 244, 262, 266–9, 272–5 Archigram (magazine) Archigram 1 8, 9, 10–17, 258, 262 Archigram 2 8, 9, 18–35, 86, 258 Archigram 3 8, 36–67, 86, 259 Archigram 4 8, 9, 68–95, 145, 259 Archigram 5 9, 96–121, 260, 263 Archigram 6 9, 122–45, 260 Archigram 7 9, 146–79, 261 Archigram 8 9, 180–207, 261 Archigram 9 9, 208–75 Archigram 9½ 9, 276–92 Archigram (TV programme) 174–9 ARCHIGRAM: Experimental Architecture 1961–1974 (1994) 258 Archigram Opera 258–63 Architects Co-Partnership 84 Architectural Design 9, 208, 257, 258 Architectural Forum 114, 145 Architectural Review 142, 144 Attenborough, John 28–9 Auto-Environment 106–11

B Banham, Reyner 8, 142–5, 262, 294 Bathamatic 242–3 Baudon, Jacques 144 Blake, Peter 114 Bottery 230–3 Bournemouth Leisure Centre 34 Bournemouth Steps 266–9, 270 Brünnhilde’s Magic Ring of Fire 257 Bumps and Lumps 292

C

28O

160 PC 1972 Urban Mark

INDEX

NOTE

The missing Project Numbers were allocated but, eventually, not used.

Calverton End Adventure Playground 104, 284 Capsule Homes 92–3 Cardiff Air House 136–7 Centre Georges Pompidou, Paris 258, 294 Chalk, Warren 8, 9, 293 Archigram 6 130–4 Archigram Opera 258–61, 262 Bathamatic 242–3 Capsule Homes 92–3 City Interchange 58–9 Entertainments Tower (Montreal Tower) 79 Interchange 97 Lillington Street Housing 28–9 Living City Exhibition 42–57 Plug-In City 94, 95 South Bank Development 35 Sporting d’Été, Palm Tree 272–5 Underwater City 97, 103 Weekend Telegraph 1990 House 201 Chapman, Priscilla 30, 94–5, 107 Cheek by Jowl 227 City Interchange 58–9 City Mound 104–5 City Synthesiser 62–3 Co-op Himmelblau 294 Come-Go Project 60–1 Commonwealth Institute, London 288–9 Computer City 112–13, 260, 293 Control and Choice 198–200 Cook, Peter 8, 34, 145, 293–4 Addhox 265

Archigram 1 14 Archigram Opera 258–61, 262, 263 Bournemouth Steps 266–9 Bumps and Lumps 292 Cheek by Jowl 227 City Mound 104–5 Come-Go Project 60–1 Control and Choice 198–200 Entertainments Tower (Montreal Tower) 78 Expro 1 279 Gas House 26 House of the Seven Veils 290–1 Ideas Circus 204–5 Info-Gonks 256 Instant City 218–25 Instant Village 207 Living City Exhibition 42–57 Metal Cabin Housing 27 Milanogram 180, 194–7 Monte Carlo 221, 222, 225, 244–53 Montreal Tower 78, 80–3 Nottingham Shopping Viaduct 40–1 Osaka 238–9 Paddington East 166–71 Piccadilly Circus Competition 13 Plug-In City 86–91, 94, 95 Plug-In University 138–41 Prepared Landscape 282–3 Room of 1000 Delights 234–5 Soft-Scene Monitor 222, 226 Sporting d’Été (Summer Casino) Monte Carlo 270–5 Weekend Telegraph 1990 House 201 Cranbourne Court 285 Crompton, Dennis 8, 9 Archigram Opera 258–61, 262 Bournemouth Steps 266–9 Calverton End Adventure Playground 284 City Synthesiser 62–3 Computer City 112–13, 145 Cranbourne Court 285 Entertainments Tower (Montreal Tower) 78 EXPO ’70 263 Expro 1 279 Instant City 218–25 Lillington Street Housing 28–9 Living City Exhibition 42–57 Malaysia Exhibition 288–9 Milanogram 180, 194–7 Monte Carlo 221, 222, 225, 244–53 Osaka 238–9 Plug-In City 94, 95 Soft-Scene Monitor 222, 226 South Bank Development 35 Sporting d’Été, Palm Tree 272–5 Weekend Telegraph 1990 House 201 Crosby, Theo 8, 78, 92 Curry, David 28–9 Cushicle & Sutaloon 202–3

D Delon, Alain 244 Design Quarterly 142–5 Dissolving City exhibit, EXPO ’70, Osaka 263 Dream City 64–7 Dreams Come True 228–9

E

Electronic Tomato 230, 254–5 Entertainments Tower (Montreal Tower) 78–83, 86 Enviro-Pill + Holographic Scene Setter 236–7 EXPO ’70, Osaka, ‘Dissolving City’ exhibit 263

Expro 1, Olympia, London (1973) 279

F Features Monte Carlo 104, 221, 244–53, 263, 266 Fether, Ben 42–57, 96 Folkestone International Dialogue of Experimental Architecture 263 Foster, Norman 294 Fournier, Colin 294 Archigram Opera 262 Bournemouth Steps 266–9 Monte Carlo 221, 222, 225, 244–53 Sporting d’Été, Palm Tree 272–5 Freetime Node 172–3 Friedman, Yona 9, 238 Fuller, Buckminster 9, 107, 143, 144, 145, 262, 293 Fun Palace 30–3, 144–5

G

Gas House 26 Greene, David 8, 9, 103, 193, 293 Archigram Opera 258–61, 262 Dream City 64–7 Gas House 26 House Project 84–5 L.A.W.U.N. Project Number 1 230–3 Living City Exhibition 42–57 Living Pod 160–5 Milanogram 180, 194–7 Monte Carlo 221, 222, 225, 244–53 Mosque 12 Nottingham Shopping Viaduct 40–1 Seaside Entertainment Building 34 Spray Plastic House 27 Gulbenkian Foundation 142

H

Helfand, Margaret 266–9 Herron, Andrew 286–7 Herron, Ron 8, 95, 293, 294 Archigram Opera 258–61, 262 Bournemouth Steps 266–9 Calverton End Adventure Playground 284 Cardiff Air House 136–7 City Interchange 58–9 Cranbourne Court 285 Entertainments Tower (Montreal Tower) 80–1 Enviro-Pill + Holographic Scene Setter 236–7 Expro 1 279 Freetime Node 172–3 Instant City 218–25 Interchange 97 It’s A… 264 Lillington Street Housing 28–9 Living City Exhibition 42–57 Malaysia Exhibition 288–9 Manzak 230, 254–5 Milanogram 180, 194–7 Monte Carlo 221, 222, 225, 244–53 Oasis 206 South Bank Development 35 Sporting d’Été, Palm Tree 272–5 Suburban Sets 286–7 Tuned Suburb 240–1 Tuning London 280–1 Walking City 97, 114–21 Weekend Telegraph 1990 House 201 Hollein, Hans 9, 238 House Project 84–5 House of the Seven Veils 290–1

I

Ideas Circus 204–5 Independent Group 293 299

Info-Gonks 256 Instant City 218–25, 247, 249, 263, 293 Instant Village 207 Institute of Contemporary Arts, ‘Living City’ exhibition (1963) 8, 42–57, 58, 61, 86, 114, 142, 259, 293 International Times 114 Isozaki, Arata and Aiko 293 It’s A… 264

J Jacobs, Jane 42 Johnson, Philip 9, 142, 143 Jones, Charlie III 107 Jones, Norman 26, 228 Jowsey, Diana 266–9, 270–5, 280–1

K

Kallman, Gerhard 142, 143, 144, 145 Kaplicky, Jan 294 Kassel Documenta (1972) 221, 222 Kiesler, Frederick 14 Kunsthalle, Vienna 258 Kurokawa, Noraki 238

L

L.A.W.U.N. Project Number 1 230–3 Lever, Stuart 270–5 Lillington Street Housing 28–9 Littlewood, Joan 30, 144–5 Living Arts magazine 51–7 Living City Exhibition (1963) 8, 42–57, 58, 61, 86, 114, 142, 259, 293 Living Pod 84, 160–5 Llewelyn Davies, Richard 142–3, 144, 145 Lynn, Jack 143

M

McLuhan, Marshall 232, 264 Maisonrouge, Jacques 262, 263 Malaysia Exhibition 288–9 Manzak 230, 254–5 Martin, Sir Leslie 142, 143 Metal Cabin Housing 27, 86 Mies van der Rohe, Ludwig 108, 143, 247 Milan Triennale (1968) 180, 194–7, 240–1, 261 Milanogram 180, 194–7 Monsanto 143 Monte Carlo 222, 225 Features Monte Carlo 104, 221, 244–53, 263, 266 Sporting d’Été (Summer Casino) 270–5 Montreal Expo ’67 78 Montreal Tower 78, 80–3, 86 Mosque 12 Myres, Mike 174

N

Nervi, Pier Luigi 12, 14 Newby, Frank 145, 244 Nottingham Shopping Viaduct 40–1, 91

O Oasis 206 Olympia, London 279 Osaka 238–9

P Paddington East 166–71 Paris Biennale des Jeunesses (1967) 198 Pawley, Martin 9, 97, 262–3 Pevsner, Nikolaus 14 Piccadilly Circus Competition 13 Plug-In City 78, 86–91, 92, 112, 145, 225, 293, 294 Paddington East 166–71 Sunday Times article (1964) 94–5 Plug-In University 138–41 Popular Paks 240–1

Postle, Dennis 174 Prepared Landscape 282–3 Price, Cedric 8, 9, 30, 31, 142, 145, 204, 262, 294 Prix, Wolf 294

R Reeve, Geoff 9, 122 Rickaby, Tony 244, 249, 262 Roberts, John 28–9 Rogers, Richard 294 Room of 1000 Delights 234–5

S

Saarinen, Eero 142 Sadler, Simon 294 Sainsbury, Gordon 13 Schein, Ionel 143, 144 Seaside Entertainment Building 34 Simulator 288 Sin Centre 30–3 Sky Rise project 110 Smith, Ivor 143 Smithson, Alison and Peter 142, 143–4, 232, 293 Snowden, Barry 172–3 Soft-Scene Monitor 222, 226, 246 South Bank Development 35 Southern California Institute for Architecture (SCI-ARC) 293 Sporting d’Été (Summer Casino) Monte Carlo 270–5 Spray Plastic House 27, 84 Steiner, Hadas 294 Stewart, Rod 285 Stirling, James 14, 142, 293 Suburban Sets 286–7 Summer Casino, Monte Carlo 270–5 Sunday Times 94–5

T

Tattooist International 174 Taylor, Peter 8, 19, 42–57 Taylor Woodrow Design Group 78–9, 92, 94 Tchumi, Bernard 270–5 Tuned Suburb 240–1 Tuning London 280–1

U

Underwater City 97, 103

V

Venturi, Robert 6, 7, 247, 294

W Wachsmann, Konrad 293 Walking City 114–21, 260, 293 Webb, Michael 7, 8, 201, 260, 293, 294 Archigram Opera 258–61, 262 Auto-Environment 97, 106–11 Brünnhilde’s Magic Ring of Fire 257 Cushicle & Suitaloon 160, 202–3 Dream City 64–7 Dreams Come True 228–9 Furniture Manufacturers Building 12, 14–17 ICSB63•4 84 Living City Exhibition 42–57 ‘Rent-a-Wall’ 9 Sin Centre 30–3 Weekend Telegraph 1990 House 201 Weeks, John 142–3, 144 Wigley, Mark 294 Wilson, Bobby 266–9

153 PC 1971 Sporting d’Été – Monte Carlo Chameleon

164 PC 1972 Adhocs Gallery

175 DC RH 1973 Blackpool Football Stadium

186 PC DC RH 1974 V&A Panels

176 RH 1973 Glasgow-Clyde Competition

187 PC RH 1974 Cassinagram

204 RH (DC) 1986 Studio Strip (+ Video)

27O

154 PC Casual City

1971

165 DC RH 1972 Calverton End Adventure Playground

206 DC RH 1986 Kawasaki Information City – Competition Mention

284

155 DC RH 1971 Leverton Place

166 DC RH 1973 Malaysia Exhibition 288

156 PC DC DG RH 1972-73 “Cheer up It’s Archigram” ICA Exhibition

167 DC RH 1973 Cranbourne Court – Coach House

177 PC 1973 Bump, Lump + Secret Garden

188 PC 1974 House of the Seven Veils

292

29O

178 PC 1973 Seaside Stilts

189 RH 1974 Suburban Sets

207 DC RH 1989 Aquapolis Barcelona (Video)

208 DC + Group 1994 A Guide to Archigram Publication

286

157 PC DC RH 1972 Summer Session ‘72

168 PC DC RH 1972-73 Margate Study

179 PC RH 1973 Expro 1 – Olympia

190 PC Sponge

1974

209 DC + Group 1998 Concerning Archigram Publication

279

158 PC DC RH 1972

AA 125 Exhibition

159 RH

1972 Tuning London

169 RH

1972 Trocadero Study

170 PC

1973 Prepared Landscape

180 RH

1974 Mint Square Housing Competition

181 PC

1974 Mint Square Housing Competition

191 RH

1975 Serpentine Video Show

212 PC DC RH 1994-

Archigram: Experimental Architecture 1961-1974 Exhibition

192 DC RH 1975

161 PC

1972 Orchard Place

162 DC RH 1972

Cranbourne Court for Rod Stewart

171 RH 1973 Irish Industrial Gas

172 RH

1973 Simulation No 136HE 28.CD.560

173 PC DG 1973

182 WC 1974 Mint Square Housing Competition

183 RH

1974

New Globe

184 PC

1974

Lincroft

Art Net

Garden Exhibition, Commonwealth Institute

174 RH 1973 Northampton Civic Centre Competition

185 PC DC RH 1974 Soria Moria Trondcomp

193 RH 1975 Trøndelag Teater

194 DG

1973 World’s Last Hardware Event

195 Group

1974 Archigram Opera

285

163 PC 1972 Con. Ed. New York

298

201 DG 1973 Searching for a Perfect Location for an Architectural Suicide

A

Addhox 265 Aillaud, Emile 143 Allinson, Ken 244, 262, 266–9, 272–5 Archigram (magazine) Archigram 1 8, 9, 10–17, 258, 262 Archigram 2 8, 9, 18–35, 86, 258 Archigram 3 8, 36–67, 86, 259 Archigram 4 8, 9, 68–95, 145, 259 Archigram 5 9, 96–121, 260, 263 Archigram 6 9, 122–45, 260 Archigram 7 9, 146–79, 261 Archigram 8 9, 180–207, 261 Archigram 9 9, 208–75 Archigram 9½ 9, 276–92 Archigram (TV programme) 174–9 ARCHIGRAM: Experimental Architecture 1961–1974 (1994) 258 Archigram Opera 258–63 Architects Co-Partnership 84 Architectural Design 9, 208, 257, 258 Architectural Forum 114, 145 Architectural Review 142, 144 Attenborough, John 28–9 Auto-Environment 106–11

B Banham, Reyner 8, 142–5, 262, 294 Bathamatic 242–3 Baudon, Jacques 144 Blake, Peter 114 Bottery 230–3 Bournemouth Leisure Centre 34 Bournemouth Steps 266–9, 270 Brünnhilde’s Magic Ring of Fire 257 Bumps and Lumps 292

C

28O

160 PC 1972 Urban Mark

INDEX

NOTE

The missing Project Numbers were allocated but, eventually, not used.

Calverton End Adventure Playground 104, 284 Capsule Homes 92–3 Cardiff Air House 136–7 Centre Georges Pompidou, Paris 258, 294 Chalk, Warren 8, 9, 293 Archigram 6 130–4 Archigram Opera 258–61, 262 Bathamatic 242–3 Capsule Homes 92–3 City Interchange 58–9 Entertainments Tower (Montreal Tower) 79 Interchange 97 Lillington Street Housing 28–9 Living City Exhibition 42–57 Plug-In City 94, 95 South Bank Development 35 Sporting d’Été, Palm Tree 272–5 Underwater City 97, 103 Weekend Telegraph 1990 House 201 Chapman, Priscilla 30, 94–5, 107 Cheek by Jowl 227 City Interchange 58–9 City Mound 104–5 City Synthesiser 62–3 Co-op Himmelblau 294 Come-Go Project 60–1 Commonwealth Institute, London 288–9 Computer City 112–13, 260, 293 Control and Choice 198–200 Cook, Peter 8, 34, 145, 293–4 Addhox 265

Archigram 1 14 Archigram Opera 258–61, 262, 263 Bournemouth Steps 266–9 Bumps and Lumps 292 Cheek by Jowl 227 City Mound 104–5 Come-Go Project 60–1 Control and Choice 198–200 Entertainments Tower (Montreal Tower) 78 Expro 1 279 Gas House 26 House of the Seven Veils 290–1 Ideas Circus 204–5 Info-Gonks 256 Instant City 218–25 Instant Village 207 Living City Exhibition 42–57 Metal Cabin Housing 27 Milanogram 180, 194–7 Monte Carlo 221, 222, 225, 244–53 Montreal Tower 78, 80–3 Nottingham Shopping Viaduct 40–1 Osaka 238–9 Paddington East 166–71 Piccadilly Circus Competition 13 Plug-In City 86–91, 94, 95 Plug-In University 138–41 Prepared Landscape 282–3 Room of 1000 Delights 234–5 Soft-Scene Monitor 222, 226 Sporting d’Été (Summer Casino) Monte Carlo 270–5 Weekend Telegraph 1990 House 201 Cranbourne Court 285 Crompton, Dennis 8, 9 Archigram Opera 258–61, 262 Bournemouth Steps 266–9 Calverton End Adventure Playground 284 City Synthesiser 62–3 Computer City 112–13, 145 Cranbourne Court 285 Entertainments Tower (Montreal Tower) 78 EXPO ’70 263 Expro 1 279 Instant City 218–25 Lillington Street Housing 28–9 Living City Exhibition 42–57 Malaysia Exhibition 288–9 Milanogram 180, 194–7 Monte Carlo 221, 222, 225, 244–53 Osaka 238–9 Plug-In City 94, 95 Soft-Scene Monitor 222, 226 South Bank Development 35 Sporting d’Été, Palm Tree 272–5 Weekend Telegraph 1990 House 201 Crosby, Theo 8, 78, 92 Curry, David 28–9 Cushicle & Sutaloon 202–3

D Delon, Alain 244 Design Quarterly 142–5 Dissolving City exhibit, EXPO ’70, Osaka 263 Dream City 64–7 Dreams Come True 228–9

E

Electronic Tomato 230, 254–5 Entertainments Tower (Montreal Tower) 78–83, 86 Enviro-Pill + Holographic Scene Setter 236–7 EXPO ’70, Osaka, ‘Dissolving City’ exhibit 263

Expro 1, Olympia, London (1973) 279

F Features Monte Carlo 104, 221, 244–53, 263, 266 Fether, Ben 42–57, 96 Folkestone International Dialogue of Experimental Architecture 263 Foster, Norman 294 Fournier, Colin 294 Archigram Opera 262 Bournemouth Steps 266–9 Monte Carlo 221, 222, 225, 244–53 Sporting d’Été, Palm Tree 272–5 Freetime Node 172–3 Friedman, Yona 9, 238 Fuller, Buckminster 9, 107, 143, 144, 145, 262, 293 Fun Palace 30–3, 144–5

G

Gas House 26 Greene, David 8, 9, 103, 193, 293 Archigram Opera 258–61, 262 Dream City 64–7 Gas House 26 House Project 84–5 L.A.W.U.N. Project Number 1 230–3 Living City Exhibition 42–57 Living Pod 160–5 Milanogram 180, 194–7 Monte Carlo 221, 222, 225, 244–53 Mosque 12 Nottingham Shopping Viaduct 40–1 Seaside Entertainment Building 34 Spray Plastic House 27 Gulbenkian Foundation 142

H

Helfand, Margaret 266–9 Herron, Andrew 286–7 Herron, Ron 8, 95, 293, 294 Archigram Opera 258–61, 262 Bournemouth Steps 266–9 Calverton End Adventure Playground 284 Cardiff Air House 136–7 City Interchange 58–9 Cranbourne Court 285 Entertainments Tower (Montreal Tower) 80–1 Enviro-Pill + Holographic Scene Setter 236–7 Expro 1 279 Freetime Node 172–3 Instant City 218–25 Interchange 97 It’s A… 264 Lillington Street Housing 28–9 Living City Exhibition 42–57 Malaysia Exhibition 288–9 Manzak 230, 254–5 Milanogram 180, 194–7 Monte Carlo 221, 222, 225, 244–53 Oasis 206 South Bank Development 35 Sporting d’Été, Palm Tree 272–5 Suburban Sets 286–7 Tuned Suburb 240–1 Tuning London 280–1 Walking City 97, 114–21 Weekend Telegraph 1990 House 201 Hollein, Hans 9, 238 House Project 84–5 House of the Seven Veils 290–1

I

Ideas Circus 204–5 Independent Group 293 299

Info-Gonks 256 Instant City 218–25, 247, 249, 263, 293 Instant Village 207 Institute of Contemporary Arts, ‘Living City’ exhibition (1963) 8, 42–57, 58, 61, 86, 114, 142, 259, 293 International Times 114 Isozaki, Arata and Aiko 293 It’s A… 264

J Jacobs, Jane 42 Johnson, Philip 9, 142, 143 Jones, Charlie III 107 Jones, Norman 26, 228 Jowsey, Diana 266–9, 270–5, 280–1

K

Kallman, Gerhard 142, 143, 144, 145 Kaplicky, Jan 294 Kassel Documenta (1972) 221, 222 Kiesler, Frederick 14 Kunsthalle, Vienna 258 Kurokawa, Noraki 238

L

L.A.W.U.N. Project Number 1 230–3 Lever, Stuart 270–5 Lillington Street Housing 28–9 Littlewood, Joan 30, 144–5 Living Arts magazine 51–7 Living City Exhibition (1963) 8, 42–57, 58, 61, 86, 114, 142, 259, 293 Living Pod 84, 160–5 Llewelyn Davies, Richard 142–3, 144, 145 Lynn, Jack 143

M

McLuhan, Marshall 232, 264 Maisonrouge, Jacques 262, 263 Malaysia Exhibition 288–9 Manzak 230, 254–5 Martin, Sir Leslie 142, 143 Metal Cabin Housing 27, 86 Mies van der Rohe, Ludwig 108, 143, 247 Milan Triennale (1968) 180, 194–7, 240–1, 261 Milanogram 180, 194–7 Monsanto 143 Monte Carlo 222, 225 Features Monte Carlo 104, 221, 244–53, 263, 266 Sporting d’Été (Summer Casino) 270–5 Montreal Expo ’67 78 Montreal Tower 78, 80–3, 86 Mosque 12 Myres, Mike 174

N

Nervi, Pier Luigi 12, 14 Newby, Frank 145, 244 Nottingham Shopping Viaduct 40–1, 91

O Oasis 206 Olympia, London 279 Osaka 238–9

P Paddington East 166–71 Paris Biennale des Jeunesses (1967) 198 Pawley, Martin 9, 97, 262–3 Pevsner, Nikolaus 14 Piccadilly Circus Competition 13 Plug-In City 78, 86–91, 92, 112, 145, 225, 293, 294 Paddington East 166–71 Sunday Times article (1964) 94–5 Plug-In University 138–41 Popular Paks 240–1

Postle, Dennis 174 Prepared Landscape 282–3 Price, Cedric 8, 9, 30, 31, 142, 145, 204, 262, 294 Prix, Wolf 294

R Reeve, Geoff 9, 122 Rickaby, Tony 244, 249, 262 Roberts, John 28–9 Rogers, Richard 294 Room of 1000 Delights 234–5

S

Saarinen, Eero 142 Sadler, Simon 294 Sainsbury, Gordon 13 Schein, Ionel 143, 144 Seaside Entertainment Building 34 Simulator 288 Sin Centre 30–3 Sky Rise project 110 Smith, Ivor 143 Smithson, Alison and Peter 142, 143–4, 232, 293 Snowden, Barry 172–3 Soft-Scene Monitor 222, 226, 246 South Bank Development 35 Southern California Institute for Architecture (SCI-ARC) 293 Sporting d’Été (Summer Casino) Monte Carlo 270–5 Spray Plastic House 27, 84 Steiner, Hadas 294 Stewart, Rod 285 Stirling, James 14, 142, 293 Suburban Sets 286–7 Summer Casino, Monte Carlo 270–5 Sunday Times 94–5

T

Tattooist International 174 Taylor, Peter 8, 19, 42–57 Taylor Woodrow Design Group 78–9, 92, 94 Tchumi, Bernard 270–5 Tuned Suburb 240–1 Tuning London 280–1

U

Underwater City 97, 103

V

Venturi, Robert 6, 7, 247, 294

W Wachsmann, Konrad 293 Walking City 114–21, 260, 293 Webb, Michael 7, 8, 201, 260, 293, 294 Archigram Opera 258–61, 262 Auto-Environment 97, 106–11 Brünnhilde’s Magic Ring of Fire 257 Cushicle & Suitaloon 160, 202–3 Dream City 64–7 Dreams Come True 228–9 Furniture Manufacturers Building 12, 14–17 ICSB63•4 84 Living City Exhibition 42–57 ‘Rent-a-Wall’ 9 Sin Centre 30–3 Weekend Telegraph 1990 House 201 Weeks, John 142–3, 144 Wigley, Mark 294 Wilson, Bobby 266–9