The Archigram Movement
Very little has been written about the visionary, predominantly British architectural movement, Archigram, since it first came to prominence in 1960. Of the scant texts available (of which many are in Japanese, as opposed to English), the authors generally attempt to describe this radical form of architecture only in terms of its designers/innovators - Ron Herron, Michael Webb, Warren Chalk and Dennis Crompton - and the ways in which it differs from the pre-existing traditions. The fascination of an architectural collective, members of which have envisioned leviathan walking cities (Ron Herron, Walking City, 1964), and people living inside bubbles (David Greene, Inflatable Suit-Home, 1968) compels one to question why academics and critics have not yet pursued more detailed studies in this subject area. The aim of the Archigram Group was not only to alter the way we envisage architecture; its members wanted to change civilisation on every possible level - physically, socially and culturally. Since reading Herbert Lachmayer's dissection of Archigram, which states that the movement proposes a `democratic emancipated capitalism, directed towards a humane working environment, pleasure-oriented consumption, and the pursuit of individual happiness', I have questioned the political motivations of the movement. It is my intention to examine one particular aspect of Archigram which has not to date been discussed in any great depth. In this study, I hope to speculate on the political stance of the Archigram movement as a whole, and to analyse the extent to which Archigram may be said to reflect the political and social climate of post-war consumer culture in the West. I will begin by interpreting the collision of two seemingly incompatible economic systems - communism/ socialism and capitalism - which Archigram represents, before moving on to a discussion of the elements of Futurism, Fascism and idealism inherent in the movement. I will also cite other relevant cultural