[3][4] The group formed in London in the 1990s, and challenged the "orthodoxy of Modernist good taste", first with experimentalism in their Anti-Oedipal House (1993) that separated children and parents, and then at the 1995 Venice Biennale by distributing art from vending machines.
[1] They did a similar effort later in London's Carnaby Street on shopping bags (1999), and in 1998, converted an Amsterdam church into the Kessels Kramer Advertising Office in with big playground furniture, a fort, fake diving board, and lifeguard shack.
[1] They "steal copy, collage and make overt references to all kinds of high and low architecture; reusing, rescaling, recolouring; remaking their sources in the wrong materials," with their first projects being redesigns of interiors such as the Brunel Rooms nightclub in Swindon (1995), where a running track, swimming pool, garden shed and lounge were added.
[1] One of Fat's directors, Sean Griffiths, built a house in baby blue[5] with cutout wall shapes and artful references to Edwin Lutyens, Adolf Loos, and Robert Venturi.
[2] FAT also completed the Woodward Place building in the United Kingdom with a Dutch-gables-on-steroids treatment that "has the functionalists choking on their herb tea" in a rejection of tidiness and uniformity that embraces clients use of crazy self-built fireplaces, half-timbering and nick-nacks.
"[8] The firm designed a New Islington social housing scheme in Manchester and refurbished a tower block in Newham using a "riot of colour and pattern" for the facades drawing on influences from the 1980s.
[11] FAT planned to wrap up its business following the completion of A House for Essex, designed for Living Architecture (a collaboration with Grayson Perry) and the curation of A Clockwork Jerusalem at the British Pavilion as part of the 2014 Venice Biennale.