Time & Memory
Adolfo Natalini (Superstudio)


Adolfo Natalini

©Monica Pidgeon

I started working_in Florence with a group of friends called Superstudio in 1966, which is the same year in which Florence has been flooded. Since then we have been working in various fields like industrial design, architectural design, and let's say architectural theory. Our first work was supposed to be a sort of architectural criticism using projects instead of words and essays. In fact we tried to produce a sort of 3-D criticism. Many of the first projects, which now can be labelled as Utopian projects and now are regarded as part of an Italian avant garde move- ment of the 'arquittetura radicale' - which means something like 'radical architecture' - were not meant to be utopian at all. But, on the contrary, they were using some rhetorical devices as negative utopias using 'demos- tratio per absurdum' or logical extrapolation. That is, we tried to push every idea to its extreme consequences in order to demonstrate the falsity and immorality of its starting point.


The Continuous Monument


One of these negative utopias project was called 'the continuous monument', and we have produced many similar things: like the so—called '12 ideal cities' which were not ideal cities at all but rather 12 different nightmares, each one of them stressing one current idea about town planning to its extreme con- sequences in order to produce very recognisable nightmares. We have produced an endless series of drawings, photo montages and writings in which we also tried not to be always very negative but also to understand from a very positive point of view the true relationships between architecture and the fundamental arts of life.

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