[1] because of this were able to create vibrant,

1 Fashionarchitecturetaste.com,
2017

2 Frearson,
2013

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3 Pell et al.,
2010, p.197

4 McManus et
al., 2017

5 Wainwright,
2013

To conclude, these so-called pranksters, have not made me fall in
love with Learning From Las Vegas,
from which they drew their pop architectural effect, however, had made me
regain hope that architects can still be truthful and original in their
designs.

When confronted with my own viewpoint, it is apparent that FAT may
have stylistically failed to create buildings that are “nice looking” and
suitable for the needs of the client. For example, The House for Essex doesn’t seem to be the most comfortable holiday
home on offer in the UK. The bright and clashing patterns of the interior and
unusual design of the house, entirely based on the life of a fictional
character seem to undermine the original idea of providing a space for a
holiday in the countryside. Therefore, FAT has been criticised for undermining
the primal ideas of their commissions in order to create extravagant spaces to
evoke criticism. Making people aware of FAT’s view of taste and design may have
in some area overridden the preliminary idea of architecture. Despite this,
from a humbler viewpoint, even the failures of the firm can educate and lead to
the construction of similar collaborations in the architectural field because
FAT will be remembered for a while.

Even from the grave, FAT is still influencing the field of
architecture. As designers they have endorsed innovative ideas in the minds of
architects, who are following suit, completing designs which are well informed
and progressive. As a firm, their ethos has made them successful, leading me to
believe that in order to make it in the industry such commitment is strongly
valued. FAT was never constrained by the definitions of the profession nor the
discipline, and because of this were able to create vibrant, sustainable and
innovative places, inspiring others to be different just as they were when
initiating their project, later called FAT. During their careers, the three
musketeers redefined architecture and taste in a way that didn’t earn them a
bad reputation for bad-mouthing the industry, instead, they earned recognition
by being clever in the way they presented their bold views in their designs. I
can understand that FAT member had a very righteous approach to design; They
made that very clear by closing the firm in winter of 2013 after seeing that
their success as architects may have undermined their original ambition. They
are a firm that in terms of fashion, architecture and taste have shown their
full commitment, making me value their work.

It is made apparent by the firm that their agenda is to be
involved in research relating to social and demographic aspects of
architecture, along with recognising the importance of sustainability and
regeneration4.
In all the controversial projects that the firm completed, their original
utopian idea which was clearly expressed by Jacobs was that architecture is
much bigger than the way architects define it 5. FAT
was created to be a project and for 23 years have completely reconstructed the
world’s concept of taste.

The firm’s approach is distinctive and innovative; Their work
communicates the possibilities of architecture in a way that makes the viewer
want to engage and extrapolate the hidden social, political, economic or
technological issue addressed by FAT. They have been able to demonstrate the
commitment to intelligent architectural solutions through completing designs
with refined details and challenging beliefs. In doing so, the firm has been
successful at shaping, reusing, remaking and transforming well-established
designs to humour the public with their idea of architectural truth- or the
lack of it. In recognition of their work, FAT has won many awards including The
Architecture Foundation New Generation Award 2006, the FX Best Public Building
Award 2006 and RIBA European Awards3.

In December 2013, the group announced a planned breakup, believing
that they have explored their projects to the fullest. The famous firm, who had
successfully combined Postmodernism with iconography, finished their career
with the completion of two major projects- British
Pavilion at the Venice Architecture Biennale 2014 and A House for Essex, commissioned
by Living Architecture2. Both pieces had the firm’s ethos strongly embedded. ‘A Clockwork
Jerusalem’ exhibition space explored how the international influences of
Modernism became mixed with British sensibilities; and the provoking domestic
house, later called A House for Essex, aimed at promoting and educating the
public about modern architecture through engulfing them in space which merges
reality and fiction.

Fashion Architecture Taste (FAT) was a London-based architectural
firm established in 1995. It was directed by Charles Holland, Sean Griffiths and
Sam Jacobs, each of whom found it important to challenge the orthodox Modern
good taste. FAT has been recognised for its brave approach to architecture,
incorporating art and design in extravagant large- and small-scale projects.
They gained an international reputation for exceptional architecture, through
involvement in a wide range of fields including, housing, education, offices,
exhibition buildings, master-planning, and interior. The members of FAT are all
dedicated to developing architectural approach through practice and research,
and therefore are closely involved in the design of all projects which are
managed on singular client-architect bases. The firm concentrates on
architecture, cities and design. They work for cultural, commercial and government
clients including Igloo Regeneration, BioRegional /Quintain, Tate, Grosvenor,
Selfridges and Rotterdam City Council1.