The branch of the experimental architecture of 1960s and early 1970s are;

-Archigram: Group of English designers formed by Peter Cook, Ron Herron, Warren Chalk (1927–88), 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 machine-parts, 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.

ARCHIGRAM	>
Walking City in New York, 1964 Ron Herron, Archigram Courtesy Ron Herron Archive

-Japanese Metabolist: In the 1960s a group of Japanese architects dreamed of future cities and produced exciting new ideas. The visions of Kurokawa Kisho, Kikutake Kiyonori, Maki Fumihiko, and other architects who had come under the influence of Tange Kenzo gave birth to an architectural movement that was called "Metabolism." The name, taken from the biological concept, came from an image of architecture and cities that shared the ability of living organisms to keep growing, reproducing, and transforming in response to their environments. Their ideas were magnificent and surprising, with concepts such as marine cities that spanned Tokyo Bay, and cities connected by highways in the sky where automobiles pass between clusters of high-rise buildings.

Metabolism emerged at a time when Japan had recovered from the devastation of war and entered a period of rapid economic growth. People felt that creating ideal cities would be a way to build better communities. This exhibition is the very first to make a comprehensive examination of Metabolism. Japan is now facing big decisions about its future. It is a perfect time to learn about the Metabolism movement and discover some of its many hints for architecture and cities.

The exhibition is organized in four sections, plus the Metabolism Lounge.

 

  Kurokawa Kisho,1970 

-Cedric Price: CEDRIC PRICE (1934-2003) was one of the most visionary architects of the late 20th century. Although he built very little, his lateral approach to architecture and to time-based urban interventions, has ensured that his work has an enduring influence on contemporary architects and artists, from Richard Rogers and Rem Koolhaas, to Rachel Whiteread. Price – or CP, as he was called – was born at Stone in Staffordshire in 1934 to an architect father, AJ Price, who worked for the firm which built the Odeon cinema chain.

In the early 1960s the UK experienced the onset of the first consumer society modelled after the US in which automation and communication technologies placed the individual in a new relationship to the community. The works of young architect Cedric Price reflect the emergence of the mass market and mass media, and demonstrate the influence of a technologically orientated architecture on the idea of social networks.

Based on central projects the dissertation processes the ideas and concepts of Cedric Price in the period 1960 to approx. 1980, to demonstrate the change from an object- to a process-oriented architecture concept, which prompted a rethinking in the planning and design methods of architecture: from an object-based approach to architecture to the concept of a demand-driven environment.

Assuming the technological approach taken by Cedric Price in his projects, the work examines the influence of system thinking and social organisation on the start of a sustained concept of architecture and demonstrates how the influence of information technologies, automation and the science of cybernetics in architecture produced new concepts of spatial organisation. Cedric Price saw the city and its architecture as part of a total system in which social, political and economic processes created a culture of permanent exchange. The idea of exchange and interaction divert the focus of architecture to the organisation of participative, open-ended processes.

 
Cedric Price, Fun Palace, axonometric section, circa 1964. Cedric Price Archives, Canadian Centre for Architecture, Montreal. 

-Haus- Rucker: in the late 1960's and early 1970's, haus rucker co, along with archigramand superstudio, propelled architecture towards a different kind of future. sharing their own aesthetics with the aesthetics of space travel, comic books, sci-fi, barbarella, dada, fluxus, and whole mess of other pop culture references; these groups changed the conceptual architectural landscape forever.

haus rucker co was formed by laurids ortner, günther zamp kelp and klaus pinter in vienna, in 1967. for 10 years, under the haus rucker co moniker, they produced prototypes, drawings, and forms for numerous major exhibitions such as documenta 5 in 1972. these pictures are from a super rare catalog of their show at the museum of contemporary crafts in 1969 in new york (yes, i just about fell over when i found it in a used book store in ny several years ago!). the design of the catalog is obviously meant to mirror an LP cover - and specifically a LIVE LP. the intention is clear - we are not stuffy academic architects; we are going to shape the future. although they made extensive spatial explorations with inflatable forms, i think their concerns were not solely architectural, but an attempt to expand and explore social interaction both inside and outside of designed spaces. many of their projects, such as the 1967 mind expander, were for two people to experience together; and the choice of invisibility of structure towards complete visibility of inhabitants is certainly pointed.

The booklet documents, amongst other things, their pneumacosm project, which was a predecessor of their oasis 7 for documenta. the proposal for ny was to create a multitude of clear pneumatic "dwelling units" on the outside of existing buildings in the downtown nyc landscape. i think that along with the notion of adding space to finite structures is the idea of people living in clear view of each other - keeping the inside inside, but also bringing the inside outside, and changing the way we define both terms... one more beautiful 60's utopian dream...
 
In 1972, the Austrian architecture collective Haus-Rucker installed Oasis Nr 7 at Documenta 5. 

                       
                                                    

-Coop Himmelblau:  is a cooperative architectural design firm primarily located in Vienna, Austria and which now also maintains offices in Los Angeles, United States and Guadalajara, Mexico. In German, "coop" has a similar meaning to the English "co-op." "Himmel" means sky or heaven in German, and "blau" means "blue" while "bau" means "building." So, the name can be interpreted as "Blue Heaven Cooperative" or "Sky Building Cooperative"

Coop Himmelblau was founded by Wolf Prix, Helmut Swiczinsky and Michael Holzer and gained international acclaim alongside Peter Eisenman, Zaha Hadid, Frank Gehry with the 1988 exhibition, "Deconstructivist Architecture" at the Museum of Modern Art. Their work ranges from commercial buildings to residential projects. 
BMW Headquarters, Munich, Germany