Beyond Archigram is the first study of the prehistory of digital representation to focus on the magazine Archigram, the magazine published in London irregularly between 1961 and 1970 and the name of the group that created it. Archigram is among the most significant phenomena to emerge in post-war architectural culture. The wired environments first advertised on its pages formulated an architectural vocabulary of metamorphosis and obsolescence that cross-pollinated industrial and digital technology at the same time as complex systems were becoming commercially available. Through archival, theoretical and visual analysis, Hadas Steiner explores the process through which this model was envisaged and disseminated within an international network of practitioners and shows how the assimilation of Archigram imagery set the course for the visual output of what are now commonplace tools in architectural practice. This book will provide a foundation for further inquiry into the integration of digital technology at every level of design.

Beyond Archigram is the first study of the prehistory of digital representation to focus on the magazine Archigram, the magazine published in London irregularly between 1961 and 1970 and the name of the group that created it. Archigram is among the most significant phenomena to emerge in post-war architectural culture. The wired environments first advertised on its pages formulated an architectural vocabulary of metamorphosis and obsolescence that cross-pollinated industrial and digital technology at the same time as complex systems were becoming commercially available. Through archival, theoretical and visual analysis, Hadas Steiner explores the process through which this model was envisaged and disseminated within an international network of practitioners and shows how the assimilation of Archigram imagery set the course for the visual output of what are now commonplace tools in architectural practice. This book will provide a foundation for further inquiry into the integration of digital technology at every level of design.

The title Archigram came from the notion of a more simple and urgent item than a Journal, like a telegram or aerogramme - hence, "archi(tecture)-gram."".

Architecture and Adaptation discusses architectural projects that use computational technology to adapt to changing conditions and human needs. Topics include kinetic and transformable structures, digitally driven building parts, interactive installations, intelligent environments, early precedents and their historical context, socio-cultural aspects of adaptive architecture, the history and theory of artificial life, the theory of human-computer interaction, tangible computing, and the social studies of technology. Author Socrates Yiannoudes proposes tools and frameworks for researchers to evaluate examples and tendencies in adaptive architecture. Illustrated with more than 50 black and white images.

The first book-length critical and historical account of an ultramodern architectural movement of the 1960s that advocated "living equipment" instead of buildings. In the 1960s, the architects of Britain's Archigram group and Archigram magazine turned away from conventional architecture to propose cities that move and houses worn like suits of clothes. 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 1960s, 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. Although most Archigram projects were at the limits of possibility and remained unbuilt, the six architects at the center of the movement, Warren Chalk, Peter Cook, Dennis Crompton, David Greene, Ron Herron, and Michael Webb, became a focal point for the architectural avant-garde, because they redefined the purpose of architecture. Countering the habitual building practice of setting walls and spaces in place, Archigram architects wanted to provide the equipment for amplified living, and they welcomed any cultural rearrangements that would ensue. Archigram: Architecture without Architecture—the first full-length critical and historical account of the Archigram phenomenon—traces Archigram from its rediscovery of early modernist verve through its courting of students, to its ascent to international notoriety for advocating the "disappearance of architecture."

An innovative look at the contribution of montage to twentieth-century architecture Graphic Assembly unearths the role played by montage and collage in the development of architectural culture over the past century, revealing their unexamined yet crucial significance. Craig Buckley brings together experimental architectural practices based in London, Paris, Vienna, and Florence, showing how breakthroughs in optical media and printing technologies enabled avant-garde architects to reimagine their field. Graphic Assembly considers a range of architects and movements from the 1950s through the early ’70s, including Theo Crosby, Hans Hollein, and John McHale; the magazine Clip-Kit; and the groups Archigram, Superstudio, and Utopie. It gives a thorough account of how montage concepts informed the design of buildings, prototypes, models, exhibitions, and multimedia environments, accompanied by Buckley’s insightful interpretations of the iconic images, exhibitions, and buildings of the 1960s that mark how the decade is remembered. Richly illustrated with never-before-published material from more than a dozen archives and private collections, Graphic Assembly offers a comparative overview of the network of experimental architectural practice in Europe. It provides a deep historical account of the cut-and-paste techniques now prevalent with architecture’s digital turn, demonstrating the great importance of montage to architecture past, present, and future.