SUPERSTUDIO ZACK TARLTON

“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 humanity’s capacity for acting according to reason, it is a “moderate utopia” to imagine a near future in which all architec-ture 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.

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IntroductionSUPERSTUDIO 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.

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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 architecture’s 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, Superstudio’s 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.

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Architecture of the ImageNot 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 group’s 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.

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Built WorkSuperstudio 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 architecture’s 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.

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Other MediaIn 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 Superstudio’s 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.”

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RepresentationThe 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.

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A Catalogue of VillasSuperstudio 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.

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The Continuous MonumentSuperstudio’s 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.

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A proposal for the “Twelve Ideal Cities.” Photo Collage ‘The Falling in Love Machine” 1968

ConclusionSuperstudio 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 Superstudio’s 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.”

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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-conceptual-architecture>

Superstudio, Reviewed works. Perspecta, Vol. 13/14 (1971), pp. 303-315.