21st century designers have nothing to complain about. We have everything, Le Corbusier, Rand and Braun didn’t

A—Bout
A—HUMAN is an independent practice founded by multidisciplinary designer John Lancaster.
Curated, the work explores the relationship between identity and design, viewing art as a core element of branding. The practice also emphasise that brand aesthetics—whether literal, physical, or conceptual, should now include AI algorithmic generative output, or most certainly fall behind those who do.
‘I briefly studied literature and am self-taught in design. I grew-up with analogue screen-less machines before diving headfirst into my first Apple computer, a Classic II. The shift from analogue to digital was a defining moment in product and brand design—perhaps best symbolised in technology and for me, in electronic music.
In electronica, what I really wanted was to be experimental, like Massive Attack and Cabaret Voltaire. At 28, I signed as a recording artist to the German label SPV, but was distracted so never fully embraced the opportunity which in hindsight, was a gift—I’ve been working in creative studios ever since.
In a social context, Sheffield artists Paul Morrison and Pete McKee recently curated gallery exhibitions and invited me to contribute. I sent two damaged Technics SL1200s, spray-painted in graffiti and sealed in a large Perspex case, as a design piece to express my personal disassociation from the music industry and to highlight the ongoing role of technology in modern culture.
Away from technology, and influenced by the extensive work and communications of architects like Le Corbusier, I leased a second London space in 2015. With a new team, we developed broader brand concepts—leading with statement fashion pieces and workwear—that merged performance branding with architecture and modern design. Having witnessed the wastefulness and irrationality of the fashion industry firsthand, I’ve become a vocal advocate for rational simplicity and industry accountability. In 2022, I was made a member of the British Fashion Council, though I left shortly after.
During lockdown, I returned to the technology space, developing UI/UX capabilities to support responsible brands with minimalist, user-focused digital experiences. At the same time, I published several subscription-based design magazines to support the sustainable print industry. And in 2023, I accepted the role of Brand Design Lead at Logically AI—a tech-corporate focused on reporting online mis/disinformation. Embracing experimentation, I designed the now globally recognised [ LF ] logo. It was a rare moment of perfect timing for a project like that.
Over the past decade, I’ve approached design as an open experiment—one that naturally draws in collaborators, and human-centric work. In 2023, I opened a new practice in Cambridgeshire, merging design, publishing, and technology under one roof. I also recently moved out of London to raise our two children away from the constant hum of Boeing 747s, alongside my partner, UK makeup artist Helen Lancaster.
Aside from brand commissions, I am currently researching and designing ecological installation-architecture for a personal project, titled VO|D ™.’
A—Purpose
As a brand in its own right, A—HUMAN is rooted in subcultural influence — often shaping identities and designs that, while successful, remain uncredited. This anonymity isn’t about rejecting recognition; it’s a deliberate act of curiosity. The aim has always been to contribute to something perceptive and relevant, where the significance of purpose outweighs the need for attribution. Most work is archived and available to view by appointment.
A—I
At the practice, AI is used to accelerate decision-making—not to replace the human side of design, but because today’s audiences assess brand credibility quickly: they judge and discard with toy-like speed.
If you don’t yet fully understand how socially relevant design—including generative AI—can assist with your branding, design projects, and overall aesthetic, please contact direct for a practice introduction
Natural History Museum
WKW
ISS World
Savills
MOBO Awards
LOTUS
Realm LA
IVY Chelsea Gardens
Petrus Belgravia
London Evening Standard
The Wolseley
The Delaunay
HUNGER TV
Wiltons, Jermyn Street
Hakkasan
LANSERHAF Clinic
Park Chinois
Royal Academy of Arts
AOK
Canary Wharf 31
Zuma Group
Toto’s
NIPA
Giovanni, Knightsbridge
Gaucho
Royal Lancaster London
The Wellesley Knightsbridge
Mandarin Oriental Hyde Park
The Corinthia
The Arts Club Hotel, Dover St
Browns
The Beaumont Hotel
ROSL
Royal Albert Hall
Hari Hotel
The Westbury Hotel
The Mandrake Hotel
67 Pall Mall
Select Acknowledgements
Hannah Peel
Sasha
Adrian Utley (Portishead)
Pete McKee
John Paul Jones
Hans Zimmer
Flood
Mark ‘Spike’ Stent
James Malone
Mushroom
Scroobius Pip
Tato Giovannoni
Edith Bowman
David Sylvian
Carl Cox
Robin Rimbaud (Scanner)
Fernando Trocca
Ben Minto (Sweet Justice)
DJ Michailo
Felix Buxton
Trevor Nelson
Graham Connington (Test Dept)
Stephen Morris (New Order)
Dunhill
British Library
Street Studios
Monksleigh
Logically AI / Facts
FWP Productions
ETCH.
Game of Thrones
The Arts Club 1863
Corbin & King
67 Pall Mall
Millenium Hotels
Select Art Installations
‘LOVE + SPACE INVADER’
Sculpture: Summer Art Festival main exhibit feat. Decommissioned Parachutes—Hari Hotel, Belgravia, London (2018)
‘PROVOCATIVÆLECTRONICA’
Art Installation feat. Technics SL1210’s, — Æ / Paul Morrison Gallery, Sheffield (2019)
‘GR—AVY’
Fashion Installation: Permanent real-time exhibit over 3 floors— Arts Club, Dover St, London (2016-2021)
‘LIVE at the EMBASSY’
Art Installation: Temporary installation feat. DJ Graffiti Pig—Vox Studios, Vauxhall, London (2019)
Select Publishing
ELECTRONIC EDITION
ARCHITECT EDITION Vol.001
ARCHITECT EDITION Vol.002
SUBS Vol.001
SUBS Vol.002
POSTCARDS FROM HELL
THE ART OF INSTRUCTIONAL GRAFFITI
THE ART OF FLY TIPPING IN THE UK
THE ART OF TEXTING BACK CONTROL
All Rights Reserved 2025
