[5][6] Beginning in the late 1960s and early 1970s by architects such as Buckminster Fuller[7] and John C. Portman Jr.;[8][9][failed verification] architect and industrial designer Eero Saarinen,[10] Archigram, an avant-garde architectural group (Peter Cook, Warren Chalk, Ron Herron, Dennis Crompton, Michael Webb and David Greene, Jan Kaplický and others);[11][12][13][14][15][16] it is considered in part an evolution out of high-tech architecture, developing many of the same themes and ideas.

[30] The collective's take on Neo-Futurism was much different to Di Bari's, in a sense that it focussed on acknowledging the legacy of the Italian Futurists as well as criticising our current state of despair over climate change and the financial system.

Jean-Louis Cohen has defined neo-futurism[32][33] as a corollary to technology, noting that a large amount of the structures built today are byproducts of new materials and concepts about the function of large-scale constructions in society.

Etan J. Ilfeld wrote that in the contemporary neo-futurist aesthetic "the machine becomes an integral element of the creative process itself, and generates the emergence of artistic modes that would have been impossible prior to computer technology.

"[36] Matthew Phillips defined the Neo-Futurist aesthetic as a "manipulation of time, space, and subject against a backdrop of technological innovation and domination, [that] posits new approaches to the future contrary to those of past avant-gardes and current technocratic philosophies".