Editing Archigram (section)

{{Short description|British architectural group}}
[[File:Plug-In City.jpg|thumb|Peter Cook presents Archigram's project of “Plug-in City”]]
{{Use dmy dates|date=July 2015}}
{{Use British English|date=July 2015}}

'''Archigram''' was an [[avant-garde]] British architectural group whose unbuilt projects and media-savvy provocations "spawned the most influential architectural movement of the 1960's," according to Princeton Architectural Press study ''Archigram'' (1999).<ref>{{Cite book |last=Archigram (Group) |url=https://books.google.com/books?id=ZVI2Z1Uqiz0C&q=spawned |title=Archigram |date=1999 |publisher=Princeton Architectural Press |isbn=978-1-56898-194-9 |pages=Inner cover |language=}}</ref> [[Neofuturistic]], anti-heroic, and pro-consumerist, the group drew inspiration from technology in order to create a new reality that was expressed through hypothetical projects, i.e., its buildings were never built, although the group did produce what the architectural historian [[Charles Jencks]] called "a series of monumental objects (one hesitates in calling them buildings since most of them moved, grew, flew, walked, burrowed or just sank under the water."<ref>Charles Jencks, ''Modern Movements in Architecture'', Anchor Books, 1973, p.289</ref> The works of Archigram had a [[neofuturistic]] slant, influenced by [[Antonio Sant'Elia]]'s works. [[Buckminster Fuller]] and [[Yona Friedman]] were also important sources of inspiration.

"Their attitude was closely tied to the technocratic ideology of the American designer Buckminster Fuller," [[Kenneth Frampton]] confirms, in ''Modern Architecture: A Critical History'', "and to that of his British apologists [[John McHale (artist)|John McHale]] and [[Reyner Banham]]. ... Archigram's subsequent commitment to a 'high-tech,' lightweight, infrastructural approach (the kind of indeterminacy implicit in the work of Fuller and even more evident in Yona Friedman's ''L'Architecture mobile'' of 1958) brought them, rather paradoxically, to indulge in ironic forms of science fiction, rather than to project solutions that were either truly indeterminate or capable of being realized and appropriated by society."<ref>Kenneth Frampton, ''Modern Architecture: A Critical History'', third edition, revised and enlarged, 1992, p. 281.</ref>