“…if design is merely an inducement to consume, then we must reject design; if architecture is merely the codifying of bourgeois model of ownership and society, then we must reject architecture; if architecture and town planning is merely the formalization of present unjust social divisions, then we must reject town planning and its cities…until all design activities are aimed towards meeting primary needs. Until then, design must disappear. We can live without architecture…”
The work of Superstudio was highly influential for architects like Zaha Hadid and Rem Koolhaas, who took the style of Superstudio to create exactly what Superstudio stood against: monumental architecture designed to glorify its owners.
"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".
Superstudio was founded in 1966 by Adolfo Natalini and Cristiano Toraldo di Francia. Later they were joined by Alessandro and Roberto Magris and Piero Frassinelli.
In 1967, Natalini established three categories of future research: “architecture of the monument”; the “architecture of the image”; and “technomorphic architecture”. Soon, Superstudio would be known for its conceptual architecture works, most notably the 1969 Continuous Monument: An Architectural Model for Total Urbanization.
Many of their projects were originally published in the magazine Casabella, and ranged from fiction to storyboard illustration and photomontage.
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