• Korean Institute of Interior Design Journal
• /
• v.19 no.1
• /
• pp.158-168
• /
• 2010

The purpose of this study is to analyze the concept of 'individual' found in architecture of British Archigram Group. Although many critics and historians have judged Archigram as a simple technocrat, the concept of individual employed by Archigram since their Living City Exhibition undermine their representational works. Archigram's concept of individual was basically influenced by the European historical context since the Renaissance and at the same time by the philosophy of existentialism. Since Archigram proposed their individualistic trend In the Living City Exhibition, they have created many individualistic architecture such as Living Pod, Cushicle, Suitaloon, etc. Through these experimental projects, Archlgram's concept of individual did not intend to get rid of the society itself, but to form a society based on the individual autonomy and on the interaction between individuals. In the city of Archigram, there was ultimately the new symbiosis between individual units and this symbiosis completed new world.

• Archives of design research
• /
• v.16 no.1
• /
• pp.199-208
• /
• 2003

The Israel-born Ron Arad is one of Britain's "superstar" designers, an it has been said that he is Britain's answer to Philippe Starck. Arad is a highly individualistic designer whose ideas stem from a mental process that has more in common with that of the fine artist than of the jobbing designer for industry. His imagination expresses itself in the form of things. By the early 1990s he had become internationally recognized for his "ready-made" work. His furniture and lighting designs required extremely costly labour-intensive techniques to produce. As his work was highly evocative, suggesting a post-industrial world in which the urban landscape was characterized by materials in a state of decay. More recently, through collaborations with Italian and German manufactures, his work has reached a new level of sophistication and finish, which differentiates it from the earlier designs. As Arad reputation as a designer of workshop-based furniture came to an end and the era of "democratic" Arad furniture came into being. By middle of the decade he had become one of the most-discussed designers of the day. The spirituality that emanates from all his work is a product of his particular vision of the creative process, far removed from the typical, stereotyped trends in the sphere of modern industrialization. He goes one step further in his work by attempting to restore aesthetic dignity to the objects of daily life, in a search for beauty within the immediate environment.hin the immediate environment.