For those who, like ourselves, are convinced that architecture is one of

the few ways to realize cosmic order on earth, to put things to order and
above all to affirm humanitys capacity for acting according to reason,
it is a moderate utopia to imagine a near future in which all architecture will be created with a single act, from a single design capable of
clarifying once and for all the motives which have induced man to build
dolmens, menhirs, pyramids, and lastly (ultima ratio) a white line in the
desert.

Superstudio,

The Continuous Monument: An Architectural

Model for Total Urbanization, 1969.

SUPERSTUDIO

ZACK TARLTON

Introduction
SUPERSTUDIO was founded in Florence in 1966 by a group of young
architects. This radical group was at the forefront of design until it was
dissolved in the late 1970s. Originally, Superstudio had two members,
Adolfo Natalini and Christiano Toraldo di Francia, who met while studying
architecture at the University of Florence. They were later joined by
Alessandro and Ragris and Piero Frassinelli. They continued their work
and practice together in Florence through the support of the university,
even to the point of residing on university grounds.
It is the designer who must attempt to re-evaluate his role in the
nightmare he helped to conceive, to retread the historical process which
inverted the hopes of the modern movement.
For twelve years, Superstudio played a pivotal role in the avant-garde
thinking and process of architectural and conceptual design. They made
it their central goal to fight the modernist ideals that currently enraptured
architectural thinking. While these ideals had been relevant early in the
1900s, by the 1960s they had grown stagnant and dull. Therefore, the
members of Superstudio regarded architecture with a sense of hostility,
blaming it for holding a part in the worlds problems of the day.

SUPERSTUDIO

Design Approach
Equally pessimistic about politics, the group developed visionary
scenarios in the form of photo-montages, sketches, collages and
storyboards of a new Anti-Design culture in which everyone is given
a sparse, but functional space to live in free from superfluous objects.
Following in the footsteps of other avant-garde designers like Archigram,
Superstudio questioned architectures ability to change the world. In fact,
they were not alone in this quest. In 1966 when Superstudio emerged,
the old ways of society were quickly falling apart in all walks of life,
creating a surge of uprisings in politics and art. Therefore, Superstudios
response was to create Anti-Design projects. This was echoed by
other designers, including the group Archizoom, a fellow group located
in Florence. Both groups first came into the playing field through the
Superarchitecture exhibition in Pistoia, Italy. After this they merged
together for another show a year later in Modena. However, by 1967,
Superstudio had established their own research agenda comprised
of three parts: 1] architecture of the monument, 2] architecture of the
image, and 3] tecnomorhpic architecture. It is the second category that
would eventually become the signature of Superstudio.

SUPERSTUDIO

Architecture of the Image

Not only did Superstudio become known for their
use of architecture of the image, but it became their
primary source of investigation and exploratory
means in architecture. They used techniques from
such diverse sources as collage, pop art, cinema and
dada. Perhaps their most famous use of Architecture
of the Image was through the set of images compiled
for The Continuous Monument. This piece used the
groups now famous black grid on white background
concept, which could be applied to any project, at any
scale.
This concept of a continuous monument
suggested that architecture was not something to be
tied to location, but rather something that superseded
all previously known conditions. It became an object
that hovered above the existing, framing pockets of the
past into spaces within the continuous structure of the
future.

SUPERSTUDIO

Built Work
Superstudio was more than just a den of radicals sitting around trying
to topple the architectural ideals of Modern Europe. They wanted [at
least in some occasions] for provide a balance of traditionalism and
radicalism within their group. One of the most memorable pieces of
their designs that still survives is their iconic Quaderna table [that is
still in production by Zanotta]. This furniture utilizes the black on white
grid made famous by The Continuous Monument. The grid also worked
its way into designs for villas early on in their partnership. However,
due to several factors, including their wavering position on architectures
theoretical and practical applications, their projects remained paper
architecture and were created primarily for magazines. They used this
to their advantage, allowing these powerful images to drive their way
into the forefront of architectural design.

SUPERSTUDIO

Other Media
In addition to collage and other forms
of representation in paper architecture,
Superstudio also worked in other media,
including film. Their first film, Interplanetary
Architecture, was a combination of space
footage with African tribal music. They were
making the point that everything [literally] was
architecture. While this may seem strange,
[and indeed their methods were still very
simplistic] they were able to communicate their
idea successfully and continued to surprise the
architectural community.

But more influential than any individual

project, and perhaps even Superstudios core
criticism of architecture and Modernism, was
the idea that an architectural practice could
be conceptual and theoretical, concerned with
cultural criticism rather than the production of
buildings.

SUPERSTUDIO

Representation
The most effective and memorable representation tool used by
Superstudio is by far the collage. They used this tool to create powerful
and meaningful images that still resonate among architects today.
Different from previous architects, however, is there use of photos in
collage creating in a sense a photomontage. These became the primary
source of imagery associated with Superstudio. In creating these, the
process began with a base image in which at least one figure was added.
Many times, images were layered together and placed out of context to
provide completely new meanings.
In addition to their collages, Superstudio also integrated storyboards
into their projects. These were didactic in nature, telling the viewer what
the essential ideas and components were within the system. Other
traditional methods of representation were also used when applicable
such as drafting and freehand sketching.

SUPERSTUDIO

A Catalogue of Villas
Superstudio used their black on white grid in many applications,
including their designs for the the villa. They have been categorized
into four groups: 1] Suburban Villas, 2] Villas by the Sea, 3] Villas in the
Mountains, and 4] Great Italian Villas. The image on the right is titled:
Superstudio: The Single Design. Above are sample plans from their
series of Villas.

SUPERSTUDIO

The Continuous Monument

Superstudios most famous exhibition is perhaps their proposal for the
Continuous Monument. As mentioned before this project utilized the
now famous black on white grid and extends throughout the existing
landscape, redefining what it means to occupy space.

SUPERSTUDIO

A proposal for the Twelve Ideal Cities. Photo Collage

SUPERSTUDIO

The Falling in Love Machine 1968

Conclusion
Superstudio was disbanded in 1978 after 12 successful and productive
years of partnership. Each member continued working on his own
agenda after the studio folded. Despite their short twelve years together,
Superstudio managed to leave a long and lasting legacy. While they
may not have contributed any particular piece of architecture, their
process for inventing new forms architecture has forever changed the
course of history. This process of continually and critically examining
the current surroundings allowed them to raise questions no one had
ever thought to ask. Now, over thirty years since Superstudios last
project was proposed, the world is merely waiting for another group to
come along and raise these same questions of our world today.

In the beginning we designed objects for production, designs to be

turned into wood and steel, glass and brick or plastic - then we produced
neutral and usable designs, then finally negative utopias, forewarning
images of the horrors which architecture was laying in store for us with
its scientific methods for the perpetuation of existing models.

SUPERSTUDIO

Consulted Works
[Hidden Architecture], Superstudio. Design Quarterly, No. 78/79,
Conceptual Architecture (1970), pp. 54-58.
Menking, William and Peter Lang. Superstudio: Life Without
Objects. Italy, Skira Editore S.p.A., 2003.
Superstudio. 8 Feb. 2012. <http://designmuseum.org/design/
superstudio>
Superstudio on Mindscapes. Design Quarterly, No. 89, Sottsass,
(1973), pp. 17-31.
Superstudio: Pioneers of Conceptual Architecture. Metropolis
Magazine Online. 8 Feb. 2012. <http://www.metropolismag.
com/story/20040106/superstudio-pioneers-of-conceptualarchitecture>
Superstudio, Reviewed works. Perspecta, Vol. 13/14 (1971), pp.
303-315.

SUPERSTUDIO