#Toraldo di Francia

[noosphe-re]

Monumento Continuo was a negative utopia, the last monument on earth that concentrated within itself all materials and construction, leaving nature outside. We were trying to explain the present or trends through images. Monumento Continuo is a planetary scale histogram; the second step was Supersuperficie with the grid that adapted to the surface, the wired earth.

Cristiano Toraldo di Francia, A Super-Breakfast with Cristiano Toraldo di Francia, Alla Carta

[roguetelemetry]

As part of the Radical Architectural movements of the late 1960s, Superstudio (founded by Adolfo Natalini and Cristiano Toraldo di Francia) became a major artistic studio who's output was highly conceptual and transcended the physical realm - having never actually produced any physical buildings, but instead conceptualising anti-buildings ('anti-architecture', their main aim was to hypothesise the 'Supersurface'. A kind of all-consuming monolithic structure, pertaining towards a society of hyper-connectivity and networked energy.

[formlab]

The Continuous Monument: On the River, project (Perspective) by Superstudio, Cristiano Toraldo di Francia, Gian Piero Frassinelli, Alessandro Magris, Roberto Magris, Adolfo Natalini, 1969

[architecture-archive]

Superstudio (1966–1978), Supersurface: Happy Island, 1972. Collage. Cristiano Toraldo di Francia.

Sourse:https://drawingmatter.org/with-superstudio-in-yesterdays-tomorrow/

[valart23]

Ciudades imaginarias: arquitectura para hacernos pensar.

La arquitectura radical y el antidiseño plantean proyectos que jamás serán construidos. Estas obras imposibles son, en realidad, mensajes para la sociedad.

La arquitectura imaginaria se fraguó hace medio siglo para rebelarse contra lo establecido. Todavía hoy algunos estudios fantasean con modelos utópicos y distópicos que, en vez de proyectar lugares habitables, cuestionan nuestros modos de vida.

Contesta y rompe con la arquitectura de la razón, la disciplina que edifica espacios prácticos sin contemplar las necesidades ni los deseos de quienes los habitan. De este antidiseño nacen proyectos irrealizables pensados para provocar, criticar, reflexionar y demoler los muros del sistema.

A la cabeza de este movimiento se situó un puñado de jóvenes británicos en 1961. Peter Cook, David Greene y Mike Webb, estudiantes de arquitectura, publicaron una revista alternativa hecha en casa cuyas páginas estaban llenas de dibujos y collages coloristas que ilustraban proyectos meramente hipotéticos y utópicos.

No tenían ningún afán de llevarlos a la práctica: cada plano impracticable era una excusa para pasarlo bien y pensar sobre el arte, la ciudad, la cibernética, los robots y el futuro.

La revista, titulada Archigram (una fusión entre architecture y telegram o aerogramme), llamó la atención de Ron Herron, Dennis Crompton y Warren Chalk, arquitectos experimentados que llevaron el estudio al siguiente nivel: la exposición Living Cities del Institute of Contemporary Arts en 1963.

Así es como Archigram se consagró e hizo historia. Sus más de 900 diseños demenciales anticiparon una arquitectura que llegaría décadas más tarde, con la globalización.

SUPERSTUDIO

La arquitectura radical no se quedó en las islas británicas. En Florencia, los estudiantes italianos Adolfo Natalini y Cristiano Toraldo di Francia fundaron Superstudio en 1966 para combatir el consumismo, la producción desenfrenada, la política y la sociedad de masas utilizando el antidiseño como herramienta de crítica.

Florencia había quedado devastada por una inundación y Superstudio se encaró con las voces que abogaban por borrar la historia de la ciudad y reconstruirla desde cero, olvidando lo que allí había existido antes. El grupo italiano respondió con diseños distópicos, exagerados e irónicos que advertían de un futuro terrible.

Su ansia subversiva se canalizó a través de la ironía y la reducción al absurdo de los principios de la arquitectura moderna. La No-Stop City (1970) de Archizoom teorizaba sobre la desaparición de la arquitectura en un planeta donde la arquitectura lo invadiera todo.

Una ciudad sin límites geográficos, sin centro, sin periferia ni espacios privados que ha devorado a la naturaleza, pero en la que todos los ciudadanos tienen tienen acceso a una tecnología que facilita sus vidas.

[diagenetic-nostalgic]

Superstudio, Salvataggi di centri storici italiani

divisare

Il solo salvataggio è ancora una volta la distruzione, la sterilizzazione totale di quell’organismo che, nato per essere la casa dell’uomo, ne è diventato prigione ed infine sepolcro... Solo uscendo dalla città e dimenticandola definitivamente l’uomo potrà sottrarre la propria vista all’angusta prigione delle mura ed aprirla ai grandi orizzonti... ( 1972 )

“L’alluvione voleva anche dire fine della razionalità: l’irrazionale era entrato all’interno di questa città rigorosa, geometrica, perfetta e l’aveva completamente sconvolta, sostituendo ai marmi e alle pietre un pavimento liquido, in cui i monumenti galleggiavano, isolati.” (Cristiano Toraldo di Francia)

Far from articulating an antipreservation agenda, Superstudio presents itself as taking sides in specialized debates: favoring idealized restorations over historic conti- nuity; conserving objects underground rather than exposing them to further damage; favoring chemical consolidation in situ rather than relocation of monuments to new sites; and balancing foreign interventions with local valuation.

The projects are offered as ritual "exorcisms," and from Superstudio's biography we know that the original event to be relived and rehearsed is the Florentine flood of 1966, famous for triggering the coales- cence of the Architettura Radicale movement from a genera- tion of architecture students. Here the flood is described as "the most important event to take place in Florence in the last four centuries," comparable only to the brief moment between 1865 and 1870 when Florence, designated the capital of Italy, was significantly modernized.8 By raising the bar of architectural ambitions, the flood recapitalized Florence. This disaster logic can then be extended to all Italian cities, creat- ing building opportunities anytime, anywhere and upsetting the logic of capitalist hyper-accumulation by reshuffling the matter of architecture

[fashionbooksmilano]

Ri-vestire

Vestire il pianeta/vestire un corpo: dalla Supersuperficie al Librabito

Dressing the planet/dressing a body: from Supersuperficie to Librabito

Cristiano Toraldo di Francia

Quodlibet Studio. Design , Macerata 2018, pp. 232 , brossura con bandelle, con illustrazioni a colori

euro 24,00*

email if you want to buy :booksinprogressmilano@yahoo.it

Fotografo prima ancora che architetto, Cristiano Toraldo di Francia, fondatore del Superstudio, collaborava fin dai primi anni Sessanta con varie riviste di moda, che lo misero in contatto con il rutilante mondo milanese del Made in Italy. Non a caso, uno dei primi ritratti fotografici del gruppo fu realizzato da un suo collega di «Vogue», Ugo Mulas. L’attenzione alla moda e agli abiti, del resto, è un tema che se da un lato lo accumuna ai colleghi di Archizoom, autori di celebri divise pop e psichedeliche, dall’altro lo inserisce nella lunga tradizione della riflessione architettonica sul principio del rivestimento, che, come ebbe a notare Adolf Loos, «è applicabile anche alla natura. L’uomo è rivestito di pelle, l’albero di corteccia». Ri-vestire è dunque un’ironica autobiografia per immagini dell’architetto e designer fiorentino, di cui mette in luce un aspetto profondo, costante e inedito, che accompagna da sempre la sua carriera, dagli esordi sino ai lavori più recenti, affrontati insieme ai suoi studenti con la freschezza irriducibile di un indomito sperimentatore.

orders to:     booksinprogressmilano@yahoo.it

twitter:                @fashionbooksmi

flickr:                   fashionbooksmilano

instagram:          fashionbooksmilano

tumblr:                fashionbooksmilano

[conformi]

Superstudio, Monumento Continuo, 1969 VS Ignazio Gardella (senior), Terrazze di marmo, Genoa, Italy, 1835-1844 (demolished in 1886) © Alfred Noack

[afotw]

images courtesy of cristiano toraldo di francia,

[moodboardmix]

Cristiano Toraldo di Francia (18 settembre 1941 - 30 luglio 2019)

Di Francia started the radical design collective Superstudio in 1966 with Adolfo Natalini while studying at the University of Florence. They were subsequently joined by Gian Piero Frassinelli, Alessandro and Roberto Magris, and Alessandro Poli.

Superstudio helped start Italy's radical architecture and design movement among the avant-garde in the 1960s and 1970s.

Superstudio's most famous work, produced in 1969, was Continuous monument: an architectural model for total urbanisation, which imagined a dystopian future where a super grid called Il Monumento Continuo covered the world.

With Superstudio, Di Francia campaigned for environmental justice. As students they had been radicalised by the 1966 Flood of the Arno in Florence, a disaster that claimed 101 lives and had been caused in part by urban development.

They were critical of architecture's modes of production, and during the early 1970s they made a series of films about the harmful effects of construction on the environment.

Although Superstudio refused to built beyond installations, their politically charged work was executed in collages, drawings, films – and even furniture pieces.

During his career Di Francia designed public spaces, train and coach stations, pharmacies, clinics and bus shelters.

View of Superstudio’s iconic “Continuous Monument” proposal. Image courtesy of the Museum of Modern Art, Howard Gilman Foundation,  

Alpine Lakes, project (Perspective),1969, 18 x 18 1/2" (45.7 x 47 cm) 

On the Rocky Coast, project (Perspective),1969, 18 3/8 x 18 1/8" (46.7 x 46 cm),

St. Moritz Revisited, project (Perspective),1969, 16 7/8 x 19 1/8" (42.9 x 48.6 cm) 

Cut-and-pasted printed paper, colored pencil, and oil stick on board

MoMa

[strathshepard]

Superstudio by C. Toraldo di Francia: The Sofo chair for Poltronova, 1968

[dezainnet]

Superstudioのクリスティアーノ・トラルド・ディ・フランシアが逝去 (dezeen) Superstudio co-founder Cristiano Toraldo di Francia dies aged 78 (dezeen)

[juliaknz]

SUPERSTUDIO MISURA SERIES, 1969 - 1972 Image © Cristiano Toraldo di Francia.

- EXHIBITION

[revuedas]

Conversation with Lorenzo Netti in Bari, Italy about his research Cultura Materiale Extraurbana in the 1970ies on rural Toscany

August 2017

[desimonewayland]

Superstudio

Archivio Toraldo di Francia

[bizarrecolumns]

Negozio Paola. Cristiano Toraldo di Francia. Florencia, Italia. 1978. #bizarrecolumns #invisiblecolumns #cristianotoraldodifrancia #mirroredcolumns https://www.instagram.com/p/CN_3axwM-gi/?igshid=37vlrk9m0ddp