Superstudio Life Without Objects

11 Only Architecture Will Be O u r Lives Peter Lung and \Y/ill~ar~ Menkiig 31 53 65 73 Suicidal Desires Peter Long The Revolt of the Object ~vrllifl~>r r~Ier1kir1g Memories of Superstudio Cristiarro k r a l d o d i Frarrcia A House of Calm Serenity Adolfo Na~alini 79 Journey to the End of Architecture Piero Frassirrelli 84 Reflected Architecture Superstudio: Historic Projects 95 119 175 213 228 229 1 9 6 6 6 8 . Superarchitecture: to the Rescue! 1969-71. Superprojects: Objects. Monuments, Cities 1972-73. Superesistcnce: Life and Death 1974-78. Supersimple: Elementary Architecture Superstudio: Biographies Superstudio: Exhibitions and B ibliography

Peter b n g Only Architecture Will Be Our Lives a ~ i dV~lltam I Menk~ng I 111 thore years i t becarrrc uery clear that 10 contirrue t o dcsigr~ fiirrrrrr~ re, ob~ecrs arrd similar household decorariotrs ruas rro solutiorr t o problnrrs of liuirrg arrd 1101 euerr t o those of life, arrd cue12 less could i t serue t o save one's otun soul.. . I t becarrre clear that rro beautrfication or c o s ~ ~ ~ e ru c r e ~ i e ntfficiio7t t o rerrredy the darlrage of tinre, the error s ofnrarr arrd the bestiality of architecture.. . The oroblern therefore was tha t o f irrcreasirr~delac/~rrrenl frorrz , those activities ofdesigrr adopting per haps the theory ofrrrinirrral force i n a ~ e r r e m"process of rrdrrctiorl". l ~ :: 11 ;I $ For those w l ~ o like ourrelues, are conuirrced that arcl~itecturc , is one oft hefew wags t o realize cosrrric order on earth, t o put thir~gs I, : I I I t o order arrd abouc a l l t o affirtrr hrrrrrarrityi capacityfor acting accordi r~gl o reasorr, it is a "rrroderate utopia" t o frrragirre a riear frrture irr w h i c l ~ l l arcl~itec~ure be created w i t h a s i r ~ ~oct, a tuill le frorr r a srrigle desrgn capable o f c l a r r ~ r n gonce arrd for a l l the rrrotiue .r ruhich have irrdrrced rrran t o build dolrrrens, nrrtlhirs, pyrarrrids, and b stly t o trnce (ultirrra ratio) n luhrre line rn the desert. SUPERSTUDIO, The Co rrfirruous Morrunrenr: Atr Arrhirec~ural Model for Total Urbanrzation, 196Y !Ij 5 I J In ,ronl most g r a p h ~ c aspects of these 1960s protagonists to today's pub11c The col lect~ve shows lack, ho\r,ever, suffic~ent space to explore ~ndlv~dual groups or speclfic actlons In greater deta~l 'Though the many e ~ h ~ b ~ t l andsdustrate d catalogues have done a respectable on 1: fi 11 ,i:

job of d ~ s s e m l n a t l n ~ consequently revlvlng the works of a preand don i~nanrlv European Rdd~cal archttecture movement over the last the world's apparently boundless resources is now having to fight to retain that dubious right. And just as Italy's cconomic miracle iI mary materials from this period are simply hard to come by: This is particularly unfortunate for SUI'BKIUDIO who seem to have acquired the role as the Radical m ovement's cover-child.' Scant little ning of the new millennium. N o better moment, then, to turn back the pages of h istory to that previous era when a similarly ample crisis ripped through rhe wor ld economies: welcome to Italy in the 1 '1 L understanding SUPEIISTUDIO'S provenance and the group's relationship to the many cultural currents evolving through the European avant-garde in the 1960s. Since none of these takes place in the distant past, most of the original protagonist s are still very active on the scene, though their current identities are not al ways transparently linked to their epic endeavours of youth. While clearly a thi rty-year hiatus suggests a certain amount of aging many of the principal actors remain highIv enereetic and active in the field while their works remain tucked we are ironically trawling into a new kind of pop-~rp culture! What remains to b e seen, however, is whether the recent 1960s' revival emerging in the schools an d in some of the more progressive of- $ P fices goes beyond mere fashion trends. ' H A definitive and momentous transformation took place in the design and archi tectural environment by the late 1960s: the increasingly debilitating crisis in Modernist architecture would find some of its most laconic last acts played out on the drawing boards : , ~reciselv here in Florence. Each group challenged and eventuallv 2 '1 ! 1 cia. Roberto Maeris. Piero Frassinelli and Alessandro Magris were sewed to indoctrinate society into an irrelevant culture of con12 rators were trusted with their time and given open access to their remaining col lection of projects and library. This publication has therefore been planncd and organizcd to seme as a portable reference focusing primarily on s u ~ e n s r u ~ r o ' s critical writings i ~ relation to their better-known body of designs r and architecture. O n e of the most unexpected conclusions we as curators can draw from our invo~vement with SUI'ERSTUDIO is just how conscious the group was from the outset of the historical importance of its investigations: SUPElUTUDlO maintains an impressive archive that from the start nieticulously docutnents the unfolding process of its critical research. While it's evident upon examining t he material presented here that their most renowned images describe the momentou

s steps in thc group's philosophical development, these inlages can only partly convey the complete historical passage. For this reason we have decided to initi ate an operation of recovery, restituting in the process those projects and writ ings -critical texts and storyboards - that are far less familiar but entirely n ecessary in providing a more complete understanding of the group's oeuvre. 'l'he timing for this revived interest in the 1960s' counter-culture is not that arbi trary either: we are again at a point where the convergence of technology and co nsumeristn, in its current socalled free market state is spinning steadily out o f control: the small percentage of the global population still able to command evocative images, the series beginning in 1969 titled The Conlinuor~sMonumen~, s pread its glacially translucent grid structures throughout entire regions of the planet enveloping buildings and entire cities, creating a monument to end all m onuments. s u l m STUDIO'S renouncement of architecture, their conscious withdra wal from the perverse system based on the con~mercialisationof popular demand, w as deliberately intended to strip architecture of everything except its most nak ed living truth. This publication is structured into two basic parts. Part I fea tures the nvo curators' essays exanlining SUPEIUTUDIO'S history within the Flore ntine context ("Suicidal Desires", Peter Lang), and an essay on s u ~ e ~ u r u ~ rpenultimate moment on the o's larger international sccne ("The Revolt of the Object", William Menking), and includes the retrospective testimonials and criti cal reflections from three of S U I ~ E I ~ T U D I O ' S nlembers: Adolfo Natal ini, Cristiano Toraldo di Francia and Piero Frassinelli. Part I1 is divided into the following four chapters: E 1. 196G68: S U I ' E W ~ C ~ ~ I C C I U ~to the Rescue! 2. 1969-71: SUI'Ellproj~ctr:Objects, Monuo1cnts, Cities 3. 1972-73: SUI 'ERexlsle~lce: Life and Death 4. 1974-78: s u ~ > e ~ i ~ n Elementary Architect ure ple: In Part I1 each chapter engages in a specific historical moment and pro vidcs related documentation on SUI~E~STUDIO'S theoretical and 1 ! 1. i $: p 13 4 4 $:

! practical responses. The goal is to publish the group's niost significant projec ts along with a related collection of images and their accompanying writings, st oryboards and photos. While this publication is nor intended to become a catalog ue raisonnk on the works of SUI>ERSTUDIO, been conceived as a work of conit has sultation and reflection. Here every atteliipt has been made to pair significant texts and storyboards to their corresponding architectural projects. This intro ductory essay will navigate through some of the peak episodes that mark SUPERSTU DIO'S architectural proThe quickest link between the two groups SUPERSTUDIO and coming out of a particularly Florentine phenomenon that could, we the catchall phrase used to regroup the variety of tendencies that have aspired to shake off the liegemonic grip of modernist archius tecture in the 1960s. Radi cal architecture is an a m b i g ~ ~ omultive. lent term that suggests different and clearly contrasting meanings. Andrea Branzi, one of the founding members of Archizoom, writing in 1973, gave this impression on the breadth of Radical move ment: "Today the term 'Radical' architecture assembles at the international leve l all of the eccentric experimentation with regard to the straight line of the p rofession: counterdesign, conceptual architecture, primitive technologies, eclec ticism, iconoclasm, neodadism. nomadism..."' Gianni Pettena, another Radical pla yer active at the time in Florence, insists on giving the movelnent a more sinuo usly fluid radiance, albeit with continental distinctions, weaving the 111g o r ~ o ~experiments of the Californian Radicals to the more self-conir scious langu age emerging in England, Austria and Italy, whose works result from far deeper f rustrations characterizing the profession in Europe.'" In effect. Pettena's pano ramic view of the movement correctly depicts the international exchanges, throug h publications, encounters and exhibitions, while devoting considerably less tim e to the msny provincial accents buried in the chaos of translation, misreading, and local cultural wrangling. Finally Emilio Ambasz's conception for T h e Neru Dorncrtic Lorzdrcope makes the point that even \\,ithin Florentine circle of vi sionary architects there \\.ere several contradictory positions regarding the ro le of ilrchitecrurc and design -let alone radical politics. T h e weakness in es tablishing ;In umbrella definition for the Radical architecture movement therefo re remains, we believe, in the often-contradictory positions held by these disti nctive activist groups. The Radical bind between the groups does not necessarily imply that there were common denominators linking one to another, as clearly th ose who saw themselves as neodadists were not necessarily willing to also act as nomadisrs. Branzi's intent was to underscore just how insidiously the work of s uch a diverse num14 ber of subversive credos were penetrating the 1960s' mainstr eam the scenes, the story of just how the two groups were founded is tied as much to circumstances as it was to a prescient vision.'' circle in the early 1960s, was asked by the Jolly gallery in Pistoia to mount a second show of his paintings i n November 1966. Into Corretti, Paolo Deganello and Massimo Morozzi chose the deshis exhibition manifesto.

16 first date would have turned out to be catastrophic. O n 4 November, an Italian national holiday, the Arno river overran its banks, flooding Florence and the re st of the valley. Natalini recounts how he found himself almost under water as h e worked through the night on the graphics for the Modena exhibition poster." In need of a dry place ro work, Natalini went to his friend Cristiano Toraldo di F rancia, who knew of a place to rent on high ground. Shortly aftenvards they foun ded together the first SupERSTuDlo office at Via Bellosguardo 1. SUPERSTUDIO rea lly only appears in some kind of recognizable form some time after the second sh ow in Modena, lagging a bit behind Archizoom." In fact, it would take roughly a year for Adolfo Natalini and Cristi:mo Toraldo di Francia to collectively gather their forces to give a philosophical foundation to SUPERSTUDIO. Natalini's thes is project on an art centre for Florence, begun in 1964 under the direction of L eonardo Savioli, influenced him to study Louis Kahn. From Kahn, Natalini immerse d himself in the history of monuments, a work that he himself has qualified as a work benveen "pop and the monumental".'~oraldodi Franciak thesis presented in 1 968, a "Machine for Vacations", represented a dialectical investigation into tec hnology and the evolving social realm. In 1967 Roberto Magris entered the Bellos guardo office, adding his experience in working within the industrial design fie ld. Piero Frassinelli joined SUPERSI'UDIO in early April 1968. Fmssinelli's univ ersity research combined anthropology with architecture, a background that provi ded him with exceptional skills in writing and storytelling.'' Over the course o f 1967, SuPERSTuDIO laboured to establish three categories for future research: the "architecture of the monument"; the "architecture of the image"; and "tecnom orphic architecture". Natalini's 1966 thesis on the Palazzo dell'Arte served as the initial genesis for the group's work on the architecture of the monument, la ter developed with greater refinement in the competition for the Fortezza da Bas so completed in 1967. The second category, on the architecture of the image, ins pired the graphic-visual research behind the beguiling renderings that became th e group's renowned signature. The architecture of the image provoked an extensiv e visual experimentation into techniques and appliques, appropriating from diver se sources, such as collage, pop art, cinema and dada.ln Toraldo di Francis's un iversity thesis set the stage for a scientific-based research, using technology as an interface medium for architecture." From these preliminary three categorie s developed the first major critical project proposed by SUPERSTUDIO:the Journey info theRea11n ojReason, an illustrated storyboard created to serve as "maps fo r orientation ..." describing the unfolding relationship benveen natural and art ificial environments. This pictorial exege/1 1 ! P~sloia. December 196G Adolo Nalalnl. Andrea Bran28 and Masslmo Morozz, ICr#rlia no Toraldo dl Francla 1 laklng s the p ~ c ~ u r e l . . 2 6 progressive visions on man and his relation to the built environment. The st oryboard narrative, already developed as a form office, in that they attempted to create more than a semblance of a legitimate p ractice, while all the while seeking to enzlsperate the per" charged actions. Th e "super" code of conduct required that homes and offices of a prospecrive welloff clientele. They were "super-operators", and as such producers of designs and objects that would be over-loaded with symbolism and poetic content. As SUPERST UDIO'S designs confounded the sense of scale and objective significance, the uns

uspecting user \vould find him or herself bccoming part of the critical process of the design. The making and shaping of these objects were consistently related to bricolage techniques, assemblies from exisring manufactured productions, or adaptations from outside industries, such as

suporr~d~o,ha vfa~ C I I L tn Mantcllato olllce 1981 these subvers~ve objects they reallzed " l n ~ t ~ a t e d a new level of con su merlsm, and consequently another level of poverty" '"Havlng recoenlzed the futll ltv of the strategy, S U P E ~ T U D I O retrenched. i 1 e Just l ~ k the m in had become powerful tool for all 11s bare slmone long pllc lty, SUPERSTUDIO called for people " to live l ~ k e protest ", to engage In a l ife long " be in Every object has a 4 pract~calfunctlon and a contemplative one and ~tIS the latter that evasion d e s ~ g n seeklng to potentlate Thus there 1s an end to the $ 1s 19th-century myths of reason as the explanation of everythin g, the 5 thousand varlat~onson the theme of the four leaned chalr, aero _ I 1' I!; ' s u P c n s T u D r o made yet another leap foniard, abandoning the last -. vestiges of a market-driven architecture, erasing once and for all I plest a physlcal bar graph, the addltlon of the histograms to the ij j/l I i I i 1!11 I for other more pressing activities. "We prepared a catalogue of tri-dimensional non-contin"ous diagrams, a catalogue of histograms of architmure with reference to a grid transportable in diverse areas or scales for the edification of a natu re both serene and immobile in mhich we might finally recognize (re-know) oursel ves. From the catalogue of histograms followed effortlessly objects, furniture, environments and architecture... . But all these things didn't matter much, nor have they ever mattered much. The surface of such hisroarams was homo1 /!i/I! /I/ /I! !t!

i! 111 !;j were also called 'the tombs of the architects'"." .. I with the four members posing at its base, and an owl in the forefront gliding st raight towards the viewer. The image, a morbid group critique, nonetheless came in the shape of a riddle. A sort of death wish so beautiful and entrancing that the message really didn't seem to matter. 19

nntive para rcvolr. Co nrinuilgnnd Crisis: t l i s r d bec;>oscthes were con- w r y md I'rojecc in L ~ l i ; ~ ~ rciously ;~s..trct h ~ soclcly r ArchlrccrurJ CUI,,,~~ ,Ilc in \vould nor be sblc ro proPO~CU,~~ period.., 2~ (no, ridcthcm\\,i~h workur rhc 15. B ; ~ C I ~ 2000.7). ~J, . 1970 imld 19721, h u I~ I ~ I L rrsctlich n.as oor get porriblc l a d o in l he school. l'eIcr Lang. inlcrrir\v x i t h hlc5smdro Poli Iflorcncc, Deccmher 20021 . ~ r i o n e poliric;~ violenrn. , c 1 '6R a I < O ~ ~ "in A. 1 , M. (;rispigni. "GLWC~. (venice. ~ I . , C ~ , I , ~ . Agarti. L. P;>,serln~ N. ,md Tr~tnfi~glin, lri ' i r 1 r ; ~ m edh. e i ba b Jd '68 (Milan: rg r ,', so lirrle hiSroric ccnrre. in Lcr, bc con. can 194-951. 1999. 3idered h i r ~ o r i ~ ~ l l ~ uc, bur for chc ~ c n million

this ii.a trivis~l obrema~ion denrr from a v;tri region from RcFSioCmilie. Genoa and thc South. ar well as r " Fontan2 (cit. 1951, '' IM. T;lfuri, H,rtnn,o/l/nl. largcnumbcrof fore~jin rnlim r Arrbiiecl,,rc, 1944dcncn O f the porriblc iuc198.7, rirnrl.JerricaLcvinc tors thsc lily behind Fla~nce'r growing ppulnriry. (Cin,brdFe. M~rr.: Thc \r.nr orld admission by btlr Press. 1990. 71. "hlin~orc Fanfmi \\,as ~ h e rhe school's prc ridenr. national-levcl policicisn Con.t h a ~ city hsd l e s the who sough[ f:~t ,o~rsv i ~ b reridcnrisl Iproblcmr than \ rhc \lorking cli~rrcs, thcrc- rhe olhc r grca,er merropoby focu,ing his or~cntionr lirer and bccnure rhc !pro. fessorr wcrc n,ore iaccorion \\,orking cl;er districts blc having I n r professionto beg in w i ~ h accord But ;,I ,vork l o rlirrrncr rhcn?. ingtoCrirri;lnoToraldodi An d here \\.as ,~l\vayso f Franci;,, the destiny ofFlo. rcncr war and remains coun erhecirs'r;inirric h c r Nt~:tone.R o m ~ c c , locked i n the hitndr of rhe itn gr IL? 7 Dcccmbcr 19661. rhopkeepcrr. n,ho nrc on. " "In his iwopural lerrurc \v illing lo alloiv erperifor the new year, rc\,enlml: mentarion inro the cir?. 1%. rei L%!ng, interview with ,hat rhere w r n lack of ns to upen tire thesis projcrts i o a \r,ider rnnjie of topics. Pirzoilo and Di Crirtina. i n Gmhrllir-Co,i!i,ri,iId Ino. 287. Milan. lvlily 196-1.391 '' Tornld o di Frzlncin m w rhc fight to do arvay with lhc expensive nmdclr us a sign rhnr much tnorc had to ch;nnae: their demands were to opco the univeoicy ryrrcm co~? .er)~one.from nII social clurrer.\vi~hrnsrr ;ecnrible toercr)nne.such ,\r i n f s c ~rhc cost o f [he proferrionally m ~ d e tmodelr for thc (hesir proiecl. T h n e \>.ere [he issuer [hat pro\,oked them to occupy the rec~or'r office on Plap Z San Marco in 1964. ami~h I srbour lifly othcr students p h r . Dcripns b y Arch!. zoom and Supciscudio". M Filer (no. 47. London, 20021 . Aho see M . Capo. biunco. " G l i Anni Qui~rnnvn', i n M . Cnpobianco and C. C ilrreri. cdr. Ar. chirct~ami~rliilrrn: 191019.79 IN;~pler: Elecra Napoli. 1998. 1221, 'I. E. Cnrre". 'lnccrvirra ia BrunoZNi". 1991. inS0pee our dirporitlon reparore inridenccthen, ~l>elirrrSt,and i ~ ~ ~ d e ~ u ~ ~ c e r .ara c lp e r n r c l ~ d c c l : ~ r ~ r h o ~ ~ ~ i n P i ~ ~ p s.. iiir n s r nor a prccire oblip- toia fc;lrured ciwdboard ittian roproviderhcmu;~nr and ~ n~r.bn:trd n r ~ n l h i arhich (he univcrriiy and ~ions.l'ctcrLnnp,inrcn~iew th crchool ingcnectl nccd, with C r ~ t h n o o r ~ l d o T di ilndrhitr iiirno~the precire Francid (Filortmno. 7 Deresponribiliry ofthe domi. cember 20021. nant po liticxl class to have ' C a p o n e ~ r o Fmcnrriinnd lcfr the Iralian r c h w l ryr- ni, i n G ~ n h c l i u . C o , ~ ~ i , > ~ , i ~ ~ i (no.287.Milnn.May 19 W. ~ r m such abandon and in misery". "Diwomo agli 5,". 401. i n Romc. During the nr~cmblies[hey refused ro veuk bur chirped inrrei~d perrhcd on [he bcnchcr likes raosring birds. See Grispigni k i t . 3MI. '" "In 1968 rhe Iralii~n Schools of Archilecturc be" Umnir. 0 yello\v bound meekly news-stand publiand more could bc developed on each o i r h e indi. war quite c.lrian from Mondndari, v i d u ~ lmcmberr of the i ~ m u n d group. h4.znyof rh ere godr rhe Florrntinc Radical were rhated. and it \\,auld cros-d. Scicnce Ficr ion be imporrant ro go deeper works ar o son o f alterna- into su~cns-ruoro's gr oup tn.c or escapist li~eri~rure dynamic.

of chc Florcnce School of hrchi~ecrurcwns published i n the Florentine daily in Decembcroil966. Thesrliclc ourlined rhe tcnuour condicionr t?dngthe rchod after che flwd, becoming a sonofwish lirr for the then ~ r Preside G i ~ i r c ~G oe i who lpropored n new rh;lr a,ould relocatc rhe school inro (he pcriphcry running along the fwrhills on the RorcnccPni+l'ir. toia ilxir, LO deal with thc wpid 1r ,p6n~oftheschwl'r populationduringthep~c. war pcriod (500rrudcnrs ln 1958 to 150 0 in 19661. According l o ~ h address by c SO Gori, Florence drew xu"V.Grc~otti." R c o l t i dcl corrruire". Crahelly 19M. 191. "In inrcn,iewrwith rcvcrnl members of Archimam and SUPERYTUDIO ,hlaric Therer Stauffcr laced Dranzi, Corrctti. Dcg;ulello, and Tonddo d i Frenc i;~as part of the group 111;tr occupicd the rector's office. See Slauffcr (cil. 35, foornore 37). " On the agenda were r l o dcnrs' demilndr to reeon. r,irucc t hc existing power structures within (he oni. verri~y,to include rhe participstio n ofrhcrmdentrin ar~demlc decirionr.;~r $vcll versity in 1963 ond 1901. Bur they were prerenr e.ar. licr ;m reaching arrir~ant r. :' Toraldo d i France recalled that Ricri'r course had rhc r~udcntr work on f tlll-rcnlc models, a conrmverriril .tppro;tcb jii\,cn thc rchool'r pcnchsln~for precise ink drmingr. Perer Lang, inrcrvicw wirh Crirr h n o Toraldo d i Franch ( Filottrnno, 7 Decembcr 20021. '' Leonardo Ricci, "Prab. lemi per una nuovn maggi or~nza",lecturc held nr thc FncoltB d i Firenzc i n orrarian ofthe faculry confc rence held i n Romc hc. t\\,een I 4 and 15 M ~ r c h 19M. Rq,nn,cd in C~rcrbel-

visionary drawings coming from the studios of young Florentines from 1966 on wer e an altogether different level of creation, image making and thought than mere product design. The drawings of SUPESTUDIO,Archizoom, UFO, Gruppo Strum, Gianni Pettena, Ugo La Pietra and others were, as Doug Michaels puts it, "kick ass desi gn" but more importantly they were "creative initiatives", unlike anything being ~ r o d u c e din America at the time.' They suggested a fantastic architectura l scene in Florence that made California seem very provincial and unimaginative. In today's \\.orld where architectural shifts and drifts are internationalized cquickly across cyberspace, it is hard to imagine a small museum city like Flore nce as a centre of international thought on architecture, urbanism and design. T his small Tuscan city, as Peter Cook reminds us, is "a safe distance from Cape C anaverd, the galleries of New York and Dusseldorf, and even the snlelly factorie s of the P o valleyMand "there [is] hardly an insistent or threatening local mil ieu of mainstream architects worth bothering about".' The arch scenes of Rome, V enice and Milan were vibrant in their own ways, but this small museum and univer sity city was very much a hot spot in the late 1960s. It had an architecture cul ture that revolved around one of Italy's most lively and politically engaged arc hitecture schools, the best art and architecture book store in Italy Centro Di a nd Maria Gloria Bicocchi's out front gallery Centrodiffusionegrafica (later to b ecome the important video tape gnllery art/tapes 22): Throughout the 1960s the s eductively ironic and charged polemics of these Florentine architects were known in North h l e r ica through Italian magazines but SUPERSTUDIO did touch down i n the United States at the Rhode Island School of Design for a moment in 1970. I ts "strategist" Adolfo Natalini taught there for a semester with Archigrammer Mi ke Webb, and Austrians Raimund Abraham and Friedrich St Florian.' This connectio n with the world outside Italy changed dramatically in 1972 when the Museum of M odern Art in New York under the direction of design curator Emilio Ambasz create d an amazing exhibition and spectacularly beautiful catalogue titled Italy: The New Dornertic ÿÿ be Webb Ratmund Abraham ~dollo Narallni and Frledr ch St Florran 1970 stage for its penultimate moment on the international scene." It was the first t o feature the young Florentines and none of the other visionary architectural dr aftsmen of the period: Cedric Price, Archigram o r the Austrians: Coop Himmelbla u, Haus.Rucker-Co, The exhibition and catalogue attempt to rectify this understand54 Landscape, Achievetnet~tsand I'roblems ofltalia~rDe.sig~z.~ The largest and most expensive exhibition in the history of MOMA, featured alongside a survey of con temporary Italian init dustrial and doniestic product design a SUPERSTUD~O Mimoc vent/Microcrrvirontnetrt as well as projects by Archizoom, Ugo La Pietra. Gruppo Strum, group 9999 and others.' It should be noted that during this period MOMA' S architecture department truly had its finger on the ~ u l s of the moment. The Architecture and e Design Department under Arthur Drexler created other importa nt exhibits: Visiotra~~' Arch~tectrrre(1960). Architecture IVitbout architect^ ( 1965) and just before Neru Dotne.rtic Landscape, Edusign culture. Thc Ncw Domestic Lndscape catalogue begins ion from Antoine d e Saint-Exupbry's Thl,r "You become responsible, forever, for what at mean - domesticated?" "It is an act too h bonds." :

with a short discussion on domesticat Little Pri~~ce: you have domesticated." "What does th often neglected. It means to establis

...... "Please domesticate me", said the fox.

"I want to, very much", the little prince replied. "But I have not much time. I have friends to discover, and ;I great many things to understand." "One only und erstands tlie things that one domesticates", said tlie fox. "Men have no more ti me to understand anything. They buy things already made ar shops. But there is n o shop anywhere where one can buy friendship, and so \ve have no friends any mor e. If you want a friend, domesticate me ..." "What must 1 do, to domesticate you ?" asked rhe little prince. "...One must observe the proper rites ..." "What is a rite?" asked the little prince. "Those are ;icrions too often neglectedn, said the fox. "They re what make one day different from other days, one hour from ot her hours."" This call for design is quickly followed in the introduction with t he disclaimer thar "design cannot solve all problems that precede its crearion a nd rhose that may arise f r o ~ nir"." If this were not cnough of a qualifier, A mbasz then proclaims the irrelevance of objects: "for many designers, the aesthe tic quality of individual objects intended for private consumption [has] become irrelevant in the face of such pressing problems as poverty, urban decay, and th e pollution of tlie environmenr now cncounrered in all industrialized countries" ." Furthermore, soriie of these designers "despairing of effecring social change through design, regard their task as essentially a political one and therefore absrain from physical design of either objects or environments and channel their energies into the sraging of evcnrs and the issuing of polemical statements".'" These absraining designers, in rhe spirit of polemical discourse, are given a c hapter in the caralogue ro stare their position and critique those with whom the y disagree about the production of objects. The catalogue essay by Manfredo Tafu ri, for and example, attacks the work of sLJ~olU'l'L!~10 Archizoom for bcing "li beration through irony [that] goes over the same ground covered by rlie utopias of the avant-garde of earlier years"." When in society"." They do not "invent substantially new forms, instead they engage i n a rhetorical operation of redesigning conventional objects with new ironic, ; ~ n d sometimes self-deprecatory sociotradictions and paradoxes of the firsr two groups. In thc first tenlitical and philosophical action or complere \virhdrawal from the mean here designed environments like T o ~ oF I ~ U I I S / J ~~ I I~ l U , by I modular housing industry. T h e history of modular housing is er "conceive[sl of work as an autonomous acrivity responsibleonly to itself and does not question irs sociocultural context", simply refining "already established forms and f~nct ions".:~ secThe ond group o r rhe reformists. itre "morivated by a ~ r o f o u n dconcern for the designer's role in a society that fosters consumption as one m ciins of inducing individual happiness, thereby insuring most co~ilpellingapproach since it "corresponds to the preoccupations of a chang ing society", and is what "rhe exhibition is 56

DIO created a nine-panel project that arguably stands out as the iconic project from the exhibit. The division of Italian design into three prevalent attitudes is f ollowed in the catalogue by the two sections "Objects" and "Environments" that p arallel and document the exhibition. The catfor their implications of more flexible patterns of use and arrangeto completely different categories. In "Objects" designs are seand finally "impl ications of more flexible patterns of use and arrangement"."These definitions se em flexible and loose because urn. It is a domestic product that appears in many Italian design concerns and their professional practices" can be placed togethwhich they work". " In the first "Objects" grouping selected for their formal and technical means are domestic designs by Joe Colombo, Vico Magistretti, Gaetano Pesce, Marco Zanu so and Richard Sapper's early television boxes, Ettore Sottsass' classic Valenti ne portable Olivetti typewriter, the Castiglioni brothers' lamps. Massimo Visee much difference in concept beyond their marketing.

Italian conundrum and needs an explanation. Adolfo Natalini commenting on Italia n architects involved in this sector has said, "its super production of ideas is due to the condition of complete unemployment among architects. In the Florence School OF Architecture, there are 6,000 students, and architects in Italy are i n charge OF only 25% of the total built volume of building. The soFirms with mor e than 500 called 'Furniture industryyhas only t \ \ , ~ employees in more than 28,000 Firms (average number of employccs 4.8) and can thercfore, thanks to its 'craftsmen' size. allo\\' itself an ample margin of little experiments"." While SUI'ERSI.UD~O did believe For a titile that the luxury goods market, created by an extant artisanal Italian economy, offered them the opportunity to express des ign ideas that were closed off to them in the building sector, they evcntually c anie to believe it was a deadend street. It \\,as, thcy decided, little more tha n an "inducement to COLISUII~C".I" In thc second section of the exhibition "Envi ronments" Arnbasz presents a detailed, maniFesto-like seven-page Design Program of "environmental concepts" that he hoped would become physical designs." The De sign Progra~~r includes minutely detailed programmatic considerations and option s that include cost goals (economically available to "low to middle income Itali an Families"), exhibition light sources, a list OF "general considerations" and a final separate essay, "Manhattan: Capital of the Twentieth Century" that all a ttempt to put contemporary problems OF the domcstic landscape in context for the designers." It is liberally sprinr kled with quotes From Siegfried Giedion's T1 1e A r c l ~ i f e c t f ~o fe Transition, Henri LeFebvre's The Explosio12,Marxi sm and the Fre11c11 Upheaval, Ambasz's Princeton professor Abraham A. Moles and Environnrer~!." The Manhattan text, Howard Searles' N O I I . H Z I I I I ~ I I informed by W:ilter Benjamin insights, presents the island as an infrastructure that provides the Framework in which "all crystallized fragments rescued from th e city ofmemory, and all the Fragments envisioned For the city OF tlie imaginati on may dwell together in an ensemble, if not by reason of thcir casual or histor ical relationships (since no reconstruction is hereby intended), then by grace O F their aBinities"." This essay originally published in Casabrlla seems gratuito us and his call that it inspire designers to "make incursions into i~iiaginaryre alms" is hardly necessary For groups like suPmsruuro."Based on chis detailed Des ign Progra~n each invited designer or group is asked to design "a domestic envir onment adaptable enough to permit the enactment OF different private and communa lly imagined new events.. . sufficiently fixed to permit the re-enactment OF ... constant aspects OF our individual and social memory"." In tlie Desig~rProgram Ambasz presents his view that the probso lems of urban society are so severe tha t designers must be chalanti-utopias are scvcrely criticized in the most po\verful text in The ri's preferred standards OF earlier avant-gardes, sincc they risk be-

' M. Tsfuri,Hirrog o/IrnIianArcl,itcdurr: 11.1iL1181 (C~~mbridgc, Milas.: The h l l l Prerr, 1990. 3831. ' Doug Michselr. i n nn cmstl conversation wirh the n urhor. 2 January 2003. Perer Lnng. "Suicidal De. sires". in thl, c~tralo~oe. ' D oug Michaels, i n an e. mail conl8enstton*irh the author. 2 J;tnuary 2003. His text in the "Critical Articles" section of the catalogue is dense and insigh tful on 20th-century Italian design, but his belief was "anti-utopian regression \\,as therefore fated that SUI~BIISTUDIO'S to give birth to new utopias" and th at a "private leap into the sublimated universe of 'artificial ~aradises'has not proven prescient"." They did call for a \vorld "without cities, castles or road s" but this See G. Celant'r 'Rndicill Archircaure". ln Arnbarr. 4. Icir. 380). r.drm ilrchirecrure Archizoom and Supcntud 6 a . e c c . - I rh;>r r conmpruil ;an ne behnuiot~nl. Proclaiming it. lelf ar mdicitl. i e r svirher ro be commercialized or rlienated, or t reo nounce irr nnd "

"All rhcnew 1 I t s rims A r no l o n ~ o\vn idei~r ~

*' Ibid. " Anlbarr. ed. (cil. 13946). ':Il~rd147. lb,d 13946. " Ibrd 147. " Ibld 148. lhid. "lbid 143 "/bid, " Ihid. 2 42: oriGinslly in "sul)Khnu~,~o". CnmbellN !?~enrr,~rrdPmbbnrg/ltnl- b u their aim ofdireng.tFing ~ ian Dcrign (1972). ~hem sclver from, itnd ' C w k k i t . 49). bmlkinl: ~vlth, prcrenl thc " D. Grnhrm. 'Art in ReI;lrion to Architecu~re Ar/ rhitcrturc i n Relatton to l i o n a, MohlA i n 1972. Hawmer, not only arc the designerr fc.ttured i n this exhibit edunted 2%archi. [ecw but or informs all of their ~ h a u p h and motiva~r rianr. Rcnzo P m o devlrcd . lighlwei~htstructur e to I cowr the uppcr and lower terraces o f rhe museum'r garden, bur remained u n" Ibtd "lbid. '' l b ~ d20. ' ' IbiJ " Ilnd : lbid 2 I. ' Ribrd 139-210. *'lhld 21. " l hd. " lh~d. "ihrd " A r n b ~ ~ rerl. (cir. 242). r, '-'lhiil 420. "'lhrd 421. bilities of the design strategy. In the spirit of 1960s' polemical and protest c ulture SUPERSTUDIO, placed on ~ I O M A ' S New Dornrrfic to us at the start of the 21st century. " lhid 245. The Neru Do,,,mic Lind- '^ A. Nnlnlini. 'l~sly: The ~ ~ o ~ c ~ ~ ~ ~ r T h l , e A r c h Ne\v ~ ~ ~ r e i t e c Domestic Lnndolthe fleorfx Arts i n 1976, scape". Arr\ql ul pup) Alnll6ulnll 'Alan!learJ 6ulhl1I 0 maiqoid uGlrap uolluanul rA@Mp u6irap II aql ale1 am11'luawomllana l e p>lenAuel ng panlaluo, Allua~~n,re all lea^ qllh~rGu8uop~r fiulqem 10 mo .ufi#iap je~~lrnp ul.o u61rap lo] i walqold aql ale) a M h e i l ~ o , a q l ~ O l I luel~en an!le ulalle ue re .u61sap lo aqduomoo, uo~luanu~. arcdojd 01 awo3 uaql aq! pue q ~ np aqs~~qelra ~l am '(Ala~>or luanllle aql 10 SIIPJII~ losuoluod pa1e~a6a)arjo slam oq1)q)n~i ra8lodouou l e a ~ 6 a qAq lo l PUP s,aUMoaql 118 101 'dlqsu~? IeJnlO u parodml slamrue palewqela~d aql Aq 'uaqi pu. 'jelauafi "8 6ulmoq fiu~p!onelo . walqo>d )no 01 slamrue llnn pup rell!n llems l ~ u a w l r e d e l2OlQ an,) aqt 6ulpu8l pue Alanllean 10 rlaumo pue S I U P I ~ ~ P ~ W~n l aul U Gu~n!l~o r! ma lqo~d ' u a q l j ~ auo aqt lo) rPlQMlaq10 u .PIPS uaaQAPealle uo!lom olul qasq uG8rap lo r r a l o ~ d req qlnw or q ? ~ w \ ~ n o q e r a r o q aql ind aM(rua l01 'rufilr 'rl!rualn] 31qn3 aql ul srll o q ~ a s o q lol'~aqle1 l anq o l l a p ~ o Gu>q~amo~ ul paau ho~efiriqo~o 'alq~ssodrl rlql puv a n t i e q ~ Gulaar p up (Ijasrt l l n p o ~ d ogle '6~8qiea~q uo a u Aluo r l l a ~ l u a l r l sales aql) ~ r d a q pue a101I P ~ ~ ~ ~ I I I U ~ ~ ~ ~ I r l ~ a l q o u a l r l x a u ~jua~sdrucll ~ lo sdeiir Alme~G ale!~do>dde 01 aqi m r~allo lualrAsaq1 I P ~ I fiutaar pup A1lqfi116ull3ol qGnoua 81 1 pueq laqlo 1 Irnll mr8luol rle*tmalpu r) alq#nana,l$ r, r ro6louue3Irql pue'rplralaeq ~ m aqld noA1eql fiulaar lng ~ l araaql uo~aqlaqmplnoqr 6u:qIhana Ile pajuanul uqlo Aephana u~efie e ul saq,uejq m o l l ~ ~ a re l alq@~6euem tl 6 loo~dq>oqr A1116no~oql slmlqo 6ullr!ra ue ul . ~ o upue any. uol~,e alq#lm>lsapu l aGnq ~>rulruo> fiuqe~l o Aeae Aluo ri 11 l~uawuo~~nua pue 11eqra,% aloAad lo a roql pue rauo u w n q BIOL(M~~I fiu~dsqs I m o l e 'rmaolqmm alqelamnuul lo pue 6uulddnr) alldre aM q3111~ 01 rpnall all1 ua'alellen elllllanfi ~ l l q n d uatl

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1969-71 Superprojects: Objects, Monuments, Cities /Lmc, &Z & ~%. â

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Y W OFcao4i~ JmeC .%a'&/#'/&a h 1 6 This chapter surveys SUPERSTUDIO'S most provocative period from 1969 to 1971. It was during these years that the group generated its most renowned body of work. After successfully formulizing a critique on design, architecture and the city, the us group produced a ~ r o d i ~ i o set of conceptual projects through an i nnovative use of multi-media techniques, en~ployingcollage, storyboards and lite rary narratives. The professional "officc" continued its design activities, whil e entering into one of its most creatively engaged and controversially subversiv e periods. Almost all the conceptual production was intended for catalogues, arc hitecture magazines and exhibitions. The most srriking images produced in the pe riod found wide distribution internationally, from Europe to the United States a nd Japan. 1. The Corrtitruorrs Monrrmmt (storyboard, with an audio-slide show, n or restored) 2. Hrrtogrdms (architecture of objects, design objects Arc the and I~rterpl~~netaty / ~ ~ t e c t r ~ r e ,first film to be produced e by suIJensTu olo, ~vithAlessandro Poli, ~ n e n ~ b ofr the group from 1970 to 1972) 3. Euclu e Ideal Cities (architecture of cities, with an audio-slide show to be re-enacte d and recordcd in conjunction with the London exhibition. March 2003) Each of th ese three categories represents a concise theoretical engagement on one of the f ollowing disciplines in design and architecture: the object, the monument, the c ity.

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