Pop architecture.

1. Architecture popular with the public.

2. Buildings the forms of which suggest their function, such as a shoeshaped shoe-shop; also called bizarre, illegitimate, programmatic,
or roadside architecture. Venturi has included autoscape
architecture of the large illuminated advertisements common in the
USA in the pop-architecture category.
3. Work influenced by popular architecture, or responding to High
Tech andArchigram-promoted images.

High Tech. Style (some would deny it is anything of the sort)

expressive of structures, technologies, and services by exposing and
even emphasizing them, or appearing to do so (the so-called Machine
Aesthetic). Some hold that High Tech originated in C19 iron-and-glass
structures such as Paxton's Crystal Palace (1851), but its aggressive
imagery owes more, perhaps, to BuckminsterFuller,
Frei Otto, Archigram, and even Futurism and New Brutalism. The
Centre Pompidou, Paris (1977), by Piano and Rogers; the Sainsbury
Centre, University of East Anglia, Norwich (1977), by Norman Foster;
the Lloyd's Building, London (1986), by Rogers; the Hong Kong and
Shanghai Bank, Hong Kong (1986), by Foster; Schlumberger Research
Laboratories, Cambridge (1985), by Hopkins; and the Financial
Times Printing Works, Docklands, London (1988), byGrimshaw are
among the most paradigmatic High Tech structures. It is also known as
the Industrial Aesthetic, and it is really about image. It tends to be
expensive to construct and maintain.

Archigram. Group of English designers formed by Peter Cook,

Ron Herron, Warren Chalk (192788), and others in 1960, influenced by
Cedric Price(especially his Fun Palace of 1961), and disbanded in 1975.
Archigram provided the precedents for the so-called High Tech style,
and promoted its architectural ideas through seductive futuristic
graphics by means of exhibitions and the magazine Archigram:
buildings designed by the group resembled machines or machineparts, and structures exhibited their services and structural elements
picked out in strong colours. The group's vision of disposable, flexible,
easily extended constructions was influential, although very few of its
projects were realized (the capsule at Expo 70 in Osaka, Japan, was
one). Richard Rogers's architecture derives from Archigram ideas, while
Price's notions of expendability influenced Japanese Metabolism.
Unrealized but influential projects include the Fulham Study (1963),
Plug-in City (1964), Instant City (1968), the Inflatable Suit-Home

(1968), and Urban Mark (1972). Herron's Imagination Building, London

(1989), encapsulated something of Archigram's ethos.