{"id":25210,"date":"2018-05-11T00:01:58","date_gmt":"2018-05-10T22:01:58","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=25210"},"modified":"2020-07-24T09:20:35","modified_gmt":"2020-07-24T07:20:35","slug":"superstudio-la-antiutopia-radical-miquel-lacasta","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/superstudio-la-antiutopia-radical-miquel-lacasta\/","title":{"rendered":"[:es]Superstudio, la antiutop\u00eda radical | Miquel Lacasta[:gl]Superstudio, a antiutop\u00eda radical | Miquel Lacasta[:en]Superstudio, the radical antiUtopia | Miquel Lacasta[:]"},"content":{"rendered":"

[:es]

\"Life
Life without Objects. LANG, Peter y MENKING, William Superstudio, Life without objects, Skira Tur\u00edn, Milan, 2003.<\/span><\/figcaption><\/figure><\/p>\n

El trabajo de Superstudio<\/a> fue impulsado por diferentes intenciones. Superstudio describe su propio trabajo en t\u00e9rminos de \u2018arquitectura radical\u2019, \u2018anti-utop\u00eda\u2019, \u2018utop\u00eda negativa\u2019, o \u2018de guerrilla\u2019. Es, sobre todo, Cristiano Toraldo di Francia<\/a>, co-fundador del grupo junto con Natalini<\/a>, que trabajaron en esta base te\u00f3rica. Entend\u00eda la arquitectura radical de la d\u00e9cada de los 60 y principios de la d\u00e9cada de los 70 principalmente como una forma de cr\u00edtica social:<\/p>\n

\n

\u201cl\u2019architecture radicale repr\u00e9sente \u2013au-del\u00e0 de n\u2019importe quelle th\u00e9orie architectonique define- un processus continu de critique concertant la structure de la societ\u00e9, que rejette l\u2019utilisation de la discipline aux mains des r\u00e9formateur contemporains et n\u00e9ocapitalistes\u201d.1<\/sup><\/p>\n<\/blockquote>\n

Bajo su punto de vista, este tipo de dise\u00f1o puede adem\u00e1s tener una funci\u00f3n terap\u00e9utica, porque ense\u00f1a a la gente a adaptarse a las nuevas condiciones de existencia.2 <\/sup><\/p>\n

En algunos de los dise\u00f1os de Superstudio, como Continuous Monument, el grupo utiliza una especie de t\u00e1ctica de guerrilla de la redundancia sem\u00e1ntica, mediante el cual el significado de la arquitectura se pone en tela de juicio por subvertir su gesto m\u00e1s significativo a trav\u00e9s de interminables repeticiones.3 <\/sup>En \u00faltima instancia, el objetivo de Superstudio es hacer que la gente experimente la vida sin objetos. Esta tiene que aprender y comprender que los objetos que utilizan, los bienes de consumo, son el medio de represi\u00f3n a trav\u00e9s del cual el sistema es capaz de perpetuarse. Para promover esta visi\u00f3n Superstudio hace un llamamiento a la utop\u00eda negativa o anti-utop\u00eda.<\/p>\n

En Superstudio podemos encontrar el uso de la arquitectura como manifiesto social, el arte como acci\u00f3n pol\u00edtica. Esta utop\u00eda negativa revela las \u00faltimas consecuencias de llevar adelante las tendencias existentes. Su misi\u00f3n es la de servir como elemento disuasorio, y para desarrollar esta, sostienen que es absolutamente necesario ofrecer resistencia contra el status quoexistente. En otras palabras, s\u00f3lo en el horror est\u00e1 la esperanza.4<\/sup><\/p>\n

La conferencia que dio Natalini en la Architectural Association en marzo de 1971 describe con gran precisi\u00f3n la posici\u00f3n intelectual de Superstudio y toda aquella arquitectura visionaria del momento. Nuestro trabajo siempre ha estado en un \u00e1rea vac\u00eda y enrarecida: en un espacio entre la arquitectura y las artes visuales, y en un espacio entre la cultura profesional y la vida.5 <\/sup>\u00c9l describe este espacio como el \u00fanico terreno no alienado para sus experiencias como grupo. Seg\u00fan \u00e9l, es el \u00fanico \u00e1mbito en el que, m\u00e1s all\u00e1 de las rutinas profesionales y la pura existencia, se crea un espacio de coincidencia donde Superstudio puede ser y hacer, actuar y existir. Sintom\u00e1ticamente, en la conferencia de Natalini, la teor\u00eda y la pr\u00e1ctica de la arquitectura se describen como planos paralelos, donde posteriormente este paralelismo se pierde, cuando se constituye una forma gaseosa entre ambos planos, distorsionando la percepci\u00f3n mutua que se tiene de ellos. Esta distorsi\u00f3n viene dada por las condiciones socio-econ\u00f3micas, la consecuci\u00f3n de encargos, y las leyes y regulaciones propias de la profesi\u00f3n.6 <\/sup><\/p>\n

Natalini describe el trabajo de Superstudio, usando la aberraci\u00f3n geom\u00e9trica como estrategia, como t\u00e1cticas de guerrilla. Muy conscientes de que no puede haber otra arquitectura sin cambiar las estructuras de la sociedad y, por otra parte, que el sistema es lo suficientemente fuerte como para incorporar cualquier gesto o producto, Natalini proclama: El \u00fanico producto que no ser\u00e1 capaz de ser absorbido es la revoluci\u00f3n violenta o la inteligencia no violenta. Las formas de la no violencia en la cultura se asemejan a la guerra de guerrillas: son subterr\u00e1neas, cambian sus objetivos, son m\u00f3viles e incomprensibles. Creo en esta acci\u00f3n de destrucci\u00f3n por parte de la cultura: la cultura como un factor de desequilibrio.7<\/sup><\/p>\n

\u00c9l ve una primera estrategia en la producci\u00f3n de im\u00e1genes aberrantes. Una serie de im\u00e1genes aberrantes, capaz de postular otra escala de valores y comportamientos, sustituir\u00e1n el proceso de acostumbrarse a la sociedad actual.8<\/sup>\u00a0As\u00ed, la imagen p\u00fablica del sistema ser\u00e1 cuestionada. Es casi como si la formulaci\u00f3n de sus ideas contuviera la receta de la Exodus machine<\/a> de Rem Koolhaas<\/a> de 1972. Colectivamente inducidos los deseos ir\u00e1n sustituyendo otros deseos igualmente apetecibles, que son, sin embargo, m\u00e1s justos y verdaderos.9 <\/sup>Y es precisamente en este punto que el programa ut\u00f3pico adquiere su forma dist\u00f3pica, cuando Natalini sigue: y para satisfacer estos nuevos deseos, el sistema se ve forzado a una crisis. La acci\u00f3n a realizar, en su forma m\u00e1s simple, sirve para llevar estos procesos al l\u00edmite, mostrando por absurdum su falsedad y su inmoralidad.10<\/sup>\u00a0En la conferencia de Natalini, esta reversi\u00f3n de utop\u00eda en distop\u00eda se convierte en un punto y aparte.<\/p>\n

En el contexto de la d\u00e9cada de los 60 y principios de los 70 tambi\u00e9n se estructuraron corrientes cr\u00edticas contra este tipo de arquitectura. La mayor cr\u00edtica al posicionamiento de una arquitectura visionaria, tal y como Natalini formul\u00f3 y defendi\u00f3 en su conferencia en la Architectural Association, fue articulada por Manfredo Tafuri<\/a>.<\/p>\n

En realidad Tafuri, se podr\u00eda considerar la otra cara de la misma moneda intelectual. Este analiz\u00f3 el estado de la arquitectura basada en la convicci\u00f3n de que la arquitectura debe intervenir en las relaciones de producci\u00f3n, sino, sostuvo Tafuri, no tendr\u00eda sentido como una contribuci\u00f3n a los grandes acontecimientos hist\u00f3ricos. Seg\u00fan Tafuri fue un error hist\u00f3rico del dise\u00f1o italiano el retirarse de inmediato en la participaci\u00f3n de la producci\u00f3n en masa de bienes de consumo y pasar a elaborar sus dise\u00f1os exclusivamente para un limitado segmento de bienes de consumo de lujo.<\/p>\n

A diferencia de las vanguardias de la d\u00e9cada de 1920, instaladas en el coraz\u00f3n de la maquinaria de producci\u00f3n de bienes, los dise\u00f1adores italianos se contentan con una posici\u00f3n muy marginal de la que no pueden sino ofrecer comentarios marginales. Esto es v\u00e1lido no s\u00f3lo para los dise\u00f1adores de muebles, sino a\u00fan m\u00e1s pertinente, para sus hom\u00f3logos que dise\u00f1an fantas\u00edas arquitect\u00f3nicas de gran escala.<\/p>\n

Seg\u00fan Tafuri, este enfoque es necesariamente impotente e ineficaz: apenas vale la pena mencionar aqu\u00ed que, en un sistema capitalista, no hay ruptura entre la producci\u00f3n, la distribuci\u00f3n y el consumo. Todas las utop\u00edas anti-consumistas que buscan corregir las distorsiones \u00e9ticas del mundo tecnol\u00f3gico mediante la modificaci\u00f3n del sistema de producci\u00f3n o de los canales de distribuci\u00f3n s\u00f3lo ponen de manifiesto la total insuficiencia de sus teor\u00edas, frente a la estructura real del ciclo econ\u00f3mico capitalista.11<\/sup><\/p>\n

En Arquitectura y Utop\u00eda, Tafuri vuelve de nuevo a incidir en este punto. Seg\u00fan \u00e9l, la proliferaci\u00f3n de un dise\u00f1o underground de protesta se ha institucionalizado, propagado por organismos internacionales, y admitido en un c\u00edrculo de elite.12<\/sup>\u00a0El hecho de que todo el movimiento conceptual de la arquitectura empez\u00f3 y termin\u00f3 en el MoMA en 1960, con la exposici\u00f3n Visionary Architecture<\/a><\/em> y, en 1972, con la exhibici\u00f3n New Domestic Landscapes: Achievements and Problems of the Italian Design<\/em><\/a>, lo demuestra.<\/p>\n

Tafuri, adem\u00e1s, habla de in\u00fatiles llamamiento a la des-alineaci\u00f3n, de la eliminaci\u00f3n de las cr\u00edticas dentro del propio proceso, de la poes\u00eda de la ambig\u00fcedad, y de la construcci\u00f3n de una estructura sem\u00e1ntica en el sentido de convertir la ciudad en una m\u00e1quina que emite mensajes de manera incesante. Coquetear con el caos no encuentra eco en su pensamiento. Sin abandonar la utop\u00eda de dise\u00f1o, los procesos que hab\u00edan superado concretamente el nivel de la ideolog\u00eda, est\u00e1n subvertidos por la redenci\u00f3n al caos, la contemplaci\u00f3n de la angustia que el Constructivismo<\/a> parec\u00eda haber hecho desaparecer para siempre, y la sublimaci\u00f3n de desorden.13<\/sup>\u00a0O a\u00fan: Con el fin de sostener un espacio metropolitano, la arquitectura parece obligada a convertirse en un espectro de s\u00ed misma.14<\/sup><\/p>\n

El veredicto final es abrumador: La crisis de la arquitectura moderna no es el resultado del cansancio o la dispersi\u00f3n. Es m\u00e1s bien una crisis de la condici\u00f3n ideol\u00f3gica de la arquitectura.15<\/sup>\u00a0Seg\u00fan \u00e9l, la redenci\u00f3n ya no es posible: ni por las inquietantes y err\u00e1ticas andanzas por los laberintos de im\u00e1genes que por su polivalencia llegan hasta el punto de convertirse en im\u00e1genes calladas, ni por la autocomplacencia de una geometr\u00eda absorta en su propia complejidad y perfecci\u00f3n. El drama de la arquitectura es ser obligada a regresar a la arquitectura pura, forma sin utop\u00eda, en el mejor de los casos, regresar a su sublime inutilidad.16<\/sup>\u00a0Quiz\u00e1s, en lo m\u00e1s profundo del c\u00f3digo gen\u00e9tico de lo arquitect\u00f3nico, resida el gen de la utop\u00eda, en eterna di\u00e1spora hacia un topos posible, en constante recorrido hacia un mundo imaginado algo mejor que el actual.<\/p>\n

No creo que pueda decirse demasiado alto, pero desde una razonable distancia a su poderoso cuerpo ideol\u00f3gico, Manfredo Tafuri ten\u00eda raz\u00f3n.<\/p>\n

Miquel Lacasta. Doctor arquitecto
\nBarcelona,\u00a0octubre 2012<\/p>\n

Notas:<\/p>\n

\n

1<\/sup>\u00a0TORALDO DI FRANCIA, Cristiano, Superstudio & Radicaux, MIGAYROU F. (ed) Cat. Architecture radicale, Institut d\u2019Art Contemporain \u2013 IAC, Villeurbanne, Enero a Mayo, 2001, p. 153.<\/p>\n

\u201cLa arquitectura radical representa, m\u00e1s all\u00e1 de cualquier teor\u00eda definitiva, un proceso continuo de cr\u00edtica sobre la estructura de la sociedad, que rechaza el uso de esta disciplina en manos de reformadores contempor\u00e1neos neocapitalistas<\/em>\u201d.<\/p>\n

Nota: traducci\u00f3n del autor.<\/p><\/blockquote>\n<\/div>\n

\n

2<\/sup>\u00a0Ib\u00eddem, p. 171.<\/p>\n<\/div>\n

\n

3<\/sup>\u00a0Ib\u00eddem, p. 183.<\/p>\n<\/div>\n

\n

4<\/sup>\u00a0\u201cil n\u2019ya de l\u2019espoir que dans l\u2019horreur\u201d.Ib\u00eddem, p.171.<\/p>\n<\/div>\n

\n

5<\/sup>\u00a0NATALINI, Adolfo, Inventory, Catalogs, Systems of Flux\u2026 a Statement. Conferencia impartida en la Architectural Association, Londres, 3 Marzo 1971. En LANG, Peter y MENKING, William, Superstudio, Life without objects, Skira Tur\u00edn, Milan, 2003, p. 164.<\/p>\n<\/div>\n

\n

6<\/sup>\u00a0Ib\u00eddem, p. 166.<\/p>\n<\/div>\n

\n

7<\/sup>\u00a0Ib\u00eddem, p. 164.<\/p>\n<\/div>\n

\n

8<\/sup>\u00a0Idem.<\/p>\n<\/div>\n

\n

9<\/sup>\u00a0Idem.<\/p>\n<\/div>\n

\n

10<\/sup>\u00a0Ib\u00eddem, p. 165-166.<\/p>\n<\/div>\n

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11<\/sup>\u00a0TAFURI, Manfredo, Design and Technological Utopi, en Emilio Ambasz, Italy: The New Domestic Landscape. Achievements and Problems of Italian Design. Cat\u00e1logo de la exposici\u00f3n, The Museum of Modern Art, Nueva York, 1972, p. 135.<\/p>\n<\/div>\n

\n

12<\/sup>\u00a0TAFURI, Manfredo, Architecture and Utopia: Design and Capitalist Development<\/a>, MIT Press, Cambridge y Londres, 1976, p. 142.<\/p>\n<\/div>\n

\n

13<\/sup>\u00a0op. cit., TAFURI, 1976, p. 136.<\/p>\n<\/div>\n

\n

14<\/sup>\u00a0Ib\u00eddem, p. 145.<\/p>\n<\/div>\n

\n

15<\/sup>\u00a0Ib\u00eddem, p. 181.<\/p>\n<\/div>\n

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16<\/sup>\u00a0Ib\u00eddem, p. ix.<\/p>\n<\/div>\n

[:gl]

\"Life
Life without Objects. LANG, Peter y MENKING, William Superstudio, Life without objects, Skira Tur\u00edn, Milan, 2003.<\/span><\/figcaption><\/figure><\/p>\n

O traballo de Superstudio<\/a> foi impulsado por diferentes intenci\u00f3ns. Superstudio describe o seu propio traballo en t\u00e9rminos de \u2018arquitectura radical\u2019, \u2018anti-utop\u00eda\u2019, \u2018utop\u00eda negativa\u2019, ou \u2018de guerrilla\u2019. \u00c9, sobre todo,Cristiano Toraldo di Francia<\/a>, co-fundador do grupo xunto con Natalini<\/a>, que traballaron nesta base te\u00f3rica. Entend\u00eda a arquitectura radical da d\u00e9cada dos 60 e principios da d\u00e9cada dos 70 principalmente como unha forma de cr\u00edtica social:<\/p>\n

\n

\u201cl\u2019architecture radicale repr\u00e9sente \u2013au-del\u00e0 de n\u2019importe quelle th\u00e9orie architectonique define- un processus continu de critique concertant la structure de la societ\u00e9, que rejette l\u2019utilisation de la discipline aux mains des r\u00e9formateur contemporains et n\u00e9ocapitalistes\u201d.1<\/sup><\/em><\/p>\n<\/blockquote>\n

Baixo o seu punto de vista, este tipo de dese\u00f1o pode ademais ter unha funci\u00f3n terap\u00e9utica, porque ensina \u00e1 xente a adaptarse \u00e1s novas condici\u00f3ns de existencia.2<\/sup><\/p>\n

Nalg\u00fans dos dese\u00f1os de Superstudio, como Continuous Monument, o grupo utiliza unha especie de t\u00e1ctica de guerrilla da redundancia sem\u00e1ntica, mediante o cal o significado da arquitectura ponse en cuesti\u00f3n por subvertir o seu xesto m\u00e1is significativo a trav\u00e9s de interminables repetici\u00f3ns.3\u00a0\u00a0<\/sup>En \u00faltima instancia, o obxectivo de Superstudio \u00e9 facer que a xente experimente a vida sen obxectos. Esta ten que aprender e comprender que os obxectos que utilizan, os bens de consumo, son o medio de represi\u00f3n a trav\u00e9s do cal o sistema \u00e9 capaz de perpetuarse. Para promover esta visi\u00f3n Superstudio fai un chamamento \u00e1 utop\u00eda negativa ou anti-utop\u00eda.<\/p>\n

 <\/p>\n

En Superstudio podemos atopar o uso da arquitectura como manifesto social, a arte como acci\u00f3n pol\u00edtica. Esta utop\u00eda negativa revela as \u00faltimas consecuencias de levar adiante as tendencias existentes. A s\u00faa misi\u00f3n \u00e9 a de servir como elemento disuasorio, e para desenvolver esta, soste\u00f1en que \u00e9 absolutamente necesario ofrecer resistencia contra o status quoexistente. Noutras palabras, s\u00f3 no horror est\u00e1 a esperanza.4<\/sup><\/p>\n

A conferencia que deu Natalini na Architectural Association en marzo de 1971 describe con gran precisi\u00f3n a posici\u00f3n intelectual de Superstudio e toda aquela arquitectura visionaria do momento. O noso traballo sempre estivo nunha \u00e1rea baleira e enrarecida: nun espazo entre a arquitectura e as artes visuais, e nun espazo entre a cultura profesional e a vida.5 <\/sup>El describe este espazo como o \u00fanico terreo non alienado para as s\u00faas experiencias como grupo. Segundo el, \u00e9 o \u00fanico \u00e1mbito no que, m\u00e1is al\u00f3 das rutinas profesionais e a pura existencia, cr\u00e9ase un espazo de coincidencia onde Superstudio pode ser e facer, actuar e existir. Sintom\u00e1ticamente, na conferencia de Natalini, a teor\u00eda e a pr\u00e1ctica da arquitectura descr\u00edbense como planos paralelos, onde posteriormente este paralelismo p\u00e9rdese, cando se constit\u00fae unha forma gasosa entre ambos os planos, distorsionando a percepci\u00f3n mutua que se ten deles. Esta distorsi\u00f3n v\u00e9n dada por condici\u00f3nelas socio-econ\u00f3micas, a consecuci\u00f3n de encargos, e as leis e regulaci\u00f3ns propias da profesi\u00f3n.6 <\/sup><\/p>\n

Natalini describe o traballo de Superstudio, usando a aberraci\u00f3n xeom\u00e9trica como estratexia, como t\u00e1cticas de guerrilla. Moi conscientes de que non pode haber outra arquitectura sen cambiar as estruturas da sociedade e, por outra banda, que o sistema \u00e9 o suficientemente forte como para incorporar calquera xesto ou produto, Natalini proclama: O \u00fanico produto que non ser\u00e1 capaz de ser absorbido \u00e9 a revoluci\u00f3n violenta ou a intelixencia non violenta. As formas da non violencia na cultura asem\u00e9llanse \u00e1 guerra de guerrillas: son subterr\u00e1neas, cambian os seus obxectivos, son m\u00f3biles e incomprensibles. Creo nesta acci\u00f3n de destruci\u00f3n por parte da cultura: a cultura como un factor de desequilibrio.7<\/sup><\/p>\n

El ve unha primeira estratexia na produci\u00f3n de imaxes aberrantes. Unha serie de imaxes aberrantes, capaz de postular outra escala de valores e comportamentos, substituir\u00e1n o proceso de afacerse \u00e1 sociedade actual.8<\/sup>\u00a0As\u00ed, a imaxe p\u00fablica do sistema ser\u00e1 cuestionada. \u00c9 case coma se a formulaci\u00f3n das s\u00faas ideas contivese a receita da Exodus machine<\/a>\u00a0de\u00a0Rem Koolhaas<\/a>\u00a0 de 1972. Colectivamente inducidos os desexos ir\u00e1n substitu\u00edndo outros desexos igualmente apetecibles, que son, con todo, m\u00e1is xustos e verdadeiros.9\u00a0<\/sup>E \u00e9 precisamente neste punto que o programa ut\u00f3pico adquire a s\u00faa forma dist\u00f3pica, cando Natalini segue: e para satisfacer estes novos desexos, o sistema vese forzado a unha crise. A acci\u00f3n para realizar, na s\u00faa forma m\u00e1is simple, serve para levar estes procesos ao l\u00edmite, mostrando por absurdum a s\u00faa falsidade e a s\u00faa inmoralidade.10<\/sup>\u00a0Na conferencia de Natalini, esta reversi\u00f3n de utop\u00eda en distop\u00eda conv\u00e9rtese nun punto e aparte.<\/p>\n

No contexto da d\u00e9cada dos 60 e principios dos 70 tam\u00e9n se estruturaron correntes cr\u00edticas contra este tipo de arquitectura. A maior cr\u00edtica ao posicionamento dunha arquitectura visionaria, tal e como Natalini formulou e defendeu na s\u00faa conferencia na Architectural Association, foi articulada por Manfredo Tafuri<\/a>.<\/p>\n

En realidade Tafuri, poder\u00edase considerar a outra cara da mesma moeda intelectual. Leste analizou o estado da arquitectura baseada na convicci\u00f3n de que a arquitectura debe intervir nas relaci\u00f3ns de produci\u00f3n, sen\u00f3n, sostivo Tafuri, non ter\u00eda sentido como unha contribuci\u00f3n aos grandes acontecementos hist\u00f3ricos. Segundo Tafuri foi un erro hist\u00f3rico do dese\u00f1o italiano o retirarse de inmediato na participaci\u00f3n da produci\u00f3n en masa de bens de consumo e pasar a elaborar os seus dese\u00f1os exclusivamente para un limitado segmento de bens de consumo de luxo.<\/p>\n

A diferenza das vangardas da d\u00e9cada de 1920, instaladas no coraz\u00f3n da maquinaria de produci\u00f3n de bens, os dese\u00f1adores italianos cont\u00e9ntanse cunha posici\u00f3n moi marxinal da que non poden sen\u00f3n ofrecer comentarios marxinais. Isto \u00e9 v\u00e1lido non s\u00f3 para os dese\u00f1adores de mobles, sen\u00f3n a\u00ednda m\u00e1is pertinente, para os seus hom\u00f3logos que dese\u00f1an fantas\u00edas arquitect\u00f3nicas de gran escala.<\/p>\n

Segundo Tafuri, este enfoque \u00e9 necesariamente impotente e ineficaz: apenas vale a pena mencionar aqu\u00ed que, nun sistema capitalista, non hai ruptura entre a produci\u00f3n, a distribuci\u00f3n e o consumo. Todas as utop\u00edas anti-consumistas que buscan corrixir as distorsiones \u00e9ticas do mundo tecnol\u00f3xico mediante a modificaci\u00f3n do sistema de produci\u00f3n ou das canles de distribuci\u00f3n s\u00f3 po\u00f1en de manifesto a total insuficiencia das s\u00faas teor\u00edas, fronte \u00e1 estrutura real do ciclo econ\u00f3mico capitalista.11<\/sup><\/p>\n

En Arquitectura e Utop\u00eda, Tafuri volve de novo a incidir neste punto. Segundo el, a proliferaci\u00f3n dun dese\u00f1o underground de protesta institucionalizouse, propagado por organismos internacionais, e admitido nun c\u00edrculo de elite.12 O feito de que todo o movemento conceptual da arquitectura empezou e terminou no MoMA en 1960, coa exposici\u00f3n Visionary Architecture<\/a><\/em> e, en 1972, coa exhibici\u00f3n New Domestic Landscapes: Achievements and Problems of the Italian Design<\/em><\/a>, o demostran.<\/p>\n

Tafuri, ademais, fala de in\u00fatiles chamamento a d\u00e9ala-ali\u00f1aci\u00f3n, da eliminaci\u00f3n das cr\u00edticas dentro do propio proceso, da poes\u00eda da ambig\u00fcidade, e da construci\u00f3n dunha estrutura sem\u00e1ntica no sentido de converter a cidade nunha m\u00e1quina que emite mensaxes de maneira incesante. Coquetear co caos non atopa eco no seu pensamento. Sen abandonar a utop\u00eda de dese\u00f1o, os procesos que superaran concretamente o nivel da ideolox\u00eda, est\u00e1n subvertidos pola redenci\u00f3n ao caos, a contemplaci\u00f3n da angustia que o Constructivismo<\/a> parec\u00eda facer desaparecer para sempre, e a sublimaci\u00f3n de desorde.13<\/sup>\u00a0Ou a\u00ednda: Co fin de soster un espazo metropolitano, a arquitectura parece obrigada a converterse nun espectro de si mesma.14<\/sup><\/p>\n

O veredicto final \u00e9 abafador: A crise da arquitectura moderna non \u00e9 o resultado do cansazo ou a dispersi\u00f3n. \u00c9 m\u00e1is ben unha crise da condici\u00f3n ideol\u00f3xica da arquitectura.15<\/sup>\u00a0Segundo el, a redenci\u00f3n xa non \u00e9 posible: nin polas inquietantes e err\u00e1ticas andanzas polos labirintos de imaxes que pola s\u00faa polivalencia chegan ata o punto de converterse en imaxes caladas, nin pola autocompracencia dunha xeometr\u00eda absorta na s\u00faa propia complexidade e perfecci\u00f3n. O drama da arquitectura \u00e9 ser obrigada a regresar \u00e1 arquitectura pura, forma sen utop\u00eda, no mellor dos casos, regresar \u00e1 s\u00faa sublime inutilidade.16<\/sup>\u00a0Quizais, no m\u00e1is profundo do c\u00f3digo xen\u00e9tico do arquitect\u00f3nico, resida o xene da utop\u00eda, en eterna di\u00e1spora cara a un topos posible, en constante percorrido cara a un mundo imaxinado algo mellor que o actual.<\/p>\n

Non creo que poida dicirse demasiado alto, pero desde unha razoable distancia ao seu poderoso corpo ideol\u00f3xico, Manfredo Tafuri ti\u00f1a raz\u00f3n.<\/p>\n

Miquel Lacasta. Doutor arquitecto
\nBarcelona,\u00a0outubro 2012<\/p>\n

Notas:<\/p>\n

\n

1<\/sup>\u00a0TORALDO DI FRANCIA, Cristiano, Superstudio & Radicaux, MIGAYROU F. (ed) Cat. Architecture radicale, Institut d\u2019Art Contemporain \u2013 IAC, Villeurbanne, Enero a Maio, 2001, p. 153.<\/p>\n

\u201cA arquitectura radical representa, m\u00e1is al\u00f3 de calquera teor\u00eda definitiva, un proceso continuo de cr\u00edtica sobre a estrutura da sociedade, que rexeita o uso desta disciplina en mans de reformadores contempor\u00e1neos neocapitalistas<\/em>\u201d.<\/p>\n

Nota: traduci\u00f3n do autor.<\/p><\/blockquote>\n<\/div>\n

\n

2<\/sup>\u00a0Ib\u00eddem, p. 171.<\/p>\n<\/div>\n

\n

3<\/sup>\u00a0Ib\u00eddem, p. 183.<\/p>\n<\/div>\n

\n

4<\/sup>\u00a0\u201cil n\u2019ya de l\u2019espoir que dans l\u2019horreur\u201d.Ib\u00eddem, p.171.<\/p>\n<\/div>\n

\n

5<\/sup>\u00a0NATALINI, Adolfo, Inventory, Catalogs, Systems of Flux\u2026 a Statement. Conferencia impartida na Architectural Association, Londres, 3 Marzo 1971. En LANG, Peter y MENKING, William, Superstudio, Life without objects, Skira Tur\u00edn, Milan, 2003, p. 164.<\/p>\n<\/div>\n

\n

6<\/sup>\u00a0Ib\u00eddem, p. 166.<\/p>\n<\/div>\n

\n

7<\/sup>\u00a0Ib\u00eddem, p. 164.<\/p>\n<\/div>\n

\n

8<\/sup>\u00a0Idem.<\/p>\n<\/div>\n

\n

9<\/sup>\u00a0Idem.<\/p>\n<\/div>\n

\n

10<\/sup>\u00a0Ib\u00eddem, p. 165-166.<\/p>\n<\/div>\n

\n

11<\/sup>\u00a0TAFURI, Manfredo, Design and Technological Utopi, en Emilio Ambasz, Italy: The New Domestic Landscape. Achievements and Problems of Italian Design. Cat\u00e1logo de la exposici\u00f3n, The Museum of Modern Art, Nueva York, 1972, p. 135.<\/p>\n<\/div>\n

\n

12<\/sup>\u00a0TAFURI, Manfredo, Architecture and Utopia: Design and Capitalist Development<\/a>, MIT Press, Cambridge y Londres, 1976, p. 142.<\/p>\n<\/div>\n

\n

13<\/sup>\u00a0op. cit., TAFURI, 1976, p. 136.<\/p>\n<\/div>\n

\n

14<\/sup>\u00a0Ib\u00eddem, p. 145.<\/p>\n<\/div>\n

\n

15<\/sup>\u00a0Ib\u00eddem, p. 181.<\/p>\n<\/div>\n

\n

16<\/sup>\u00a0Ib\u00eddem, p. ix.<\/p>\n<\/div>\n

[:en]

\"Life
Life without Objects. LANG, Peter y MENKING, William Superstudio, Life without objects, Skira Tur\u00edn, Milan, 2003.<\/span><\/figcaption><\/figure><\/p>\n

\n

Superstudio<\/a>‘s work was stimulated by different intentions. Superstudio describes his own work in terms of ‘radical architecture’, ‘anti-Utopia’, ‘negative Utopia’, or ‘of guerrilla warfare’. He is, especially, Cristiano Toraldo di Francia<\/a>, co-founder of the group together with Natalini<\/a>, which were employed at this theoretical base. He understood the radical architecture of the decade of the 60 and beginning of the decade of the 70 principally as a form of social critique:<\/p>\n

\n

\u201cl\u2019architecture radicale repr\u00e9sente \u2013au-del\u00e0 de n\u2019importe quelle th\u00e9orie architectonique define- un processus continu de critique concertant la structure de la societ\u00e9, que rejette l\u2019utilisation de la discipline aux mains des r\u00e9formateur contemporains et n\u00e9ocapitalistes\u201d.1<\/sup><\/em><\/p>\n<\/blockquote>\n

Under his point of view, this type of design can have in addition a therapeutic function, because it teaches the people to adapt to the new conditions of existence.2<\/sup><\/p>\n

In some of Superstudio’s designs, as Continuous Monument, the group uses a species of tactics of guerrilla warfare of the semantic redundancy, by means of which the meaning of the architecture puts in fabric of judgment for subverting his more significant gesture across endless repetitions.3\u00a0<\/sup>In last instance, Superstudio’s aim is to do that the people experience the life without objects. It has to learn and understand that the objects that they use, the consumer goods, are the way of repression across which the system is capable of being perpetuated this one. To promote this vision Superstudio it calls on to the negative Utopia or anti-Utopia.<\/p>\n

In Superstudio we can find the use of the architecture as social manifest, the art as political action. This negative Utopia reveals the last consequences of taking forward the existing trends. His mission is it of serving as element disuasorio, and to develop this one, they hold that it is absolutely necessary to offer resistance against the status quoexistente. In other words, only in the horror the hope is.4<\/sup><\/p>\n

The conference that Natalini gave in the Architectural Association in March, 1971 describes with great precision Superstudio’s intellectual position and all that visionary architecture of the moment. Our work always has been in an empty and rarefied area: in a space between the architecture and the visual arts, and in a space between the professional culture and the life.4\u00a0<\/sup>He describes this space as the only not mentally ill area for his experiences as group. According to him, it is the only area in the one that, beyond the professional routines and the pure existence, believes itself a space of coincidence where Superstudio can be and do, act and exist. Symptomatic, in Natalini’s conference, the theory and the practice of the architecture they are described as parallel planes, where later this parallelism gets lost, when a gaseous form is constituted between both planes, distorting the mutual perception that is had of them. This distortion comes given by the socio-economic conditions, the attainment of orders, and the laws and own regulations of the profession.6<\/sup><\/p>\n

Natalini describes Superstudio’s work, using the geometric aberration as strategy, as tactics of guerrilla warfare. Very conscious that there can no be another architecture without changing the structures of the company and, on the other hand, that the system is the sufficiently strong thing as to incorporate any gesture or product, Natalini proclaims: The only product that will not be capable of being absorbed is the violent revolution or the intelligence does not force. The forms of not violence in the culture are alike the guerrilla war: they are underground, change his aims, are mobile and incomprehensible. I believe in this action of destruction on the part of the culture: the culture like an imbalance factor.7<\/sup><\/p>\n

He sees the first strategy in the production of aberrant images. A series of images aberrant, capable of postulating another set of values and behaviors, will replace the process of getting used to the company current.8\u00a0<\/sup>This way, the public image of the system will be questioned. It is almost as if the formulation of his ideas was containing the recipe of the Exodus machine<\/a> by\u00a0Rem Koolhaas<\/a> of 1972. Collectivly induced the desires will be replacing other equally appetizing desires, which are, nevertheless, more just and verdaderos.9\u00a0<\/sup>And it is precisely in this point that the Utopian program acquires his form dist\u00f3pica, when Natalini continues: and to satisfy these new desires, the system convict meets to a crisis. The action to realize, in his simpler form, serves to take these processes to the limit, showing for absurdum his falsehood and his immorality.10<\/sup> In Natalini’s conference, this reversion of Utopia in distop\u00eda turns into a point and new paragraph.<\/p>\n

In the context of the decade of the 60 and beginning of the 70 also critical currents were structured against this type of architecture. The major critique to the positioning of a visionary architecture, as Natalini formulated and defended in his conference in the Architectural Association, was articulated by Manfredo Tafuri<\/a>.<\/p>\n

Actually Tafuri, might be considered to be another face of the same intellectual currency. This one analyzed the condition of the architecture based on the conviction of which the architecture must intervene in the relations of production, but, held Tafuri, sense would not ma as a contribution to the big historical events. According to Tafuri it was a historical mistake of the Italian design to move back at once in the participation of the production in mass of consumer goods and to happen to elaborate his designs exclusively for a limited segment of consumer goods of luxury.<\/p>\n

Unlike the forefronts of the decade of 1920, installed in the heart of the machinery of production of goods, the Italian designers content with a very marginal position of which they cannot but to offer marginal comments. This is valid not only for the designers of furniture, but furthermore pertinent, for his counterparts who design architectural fantasies of great scale.<\/p>\n

According to Tafuri, this approach is necessarily impotent and ineffective: scarcely it is worth a sorrow mentioning here that, in a capitalist system, there is no break between the production, the distribution and the consumption. All the anti-consumer Utopias that seek to correct the ethical distortions of the technological world by means of the modification of the system of production or of the distribution channels only reveal the total insufficiency of his theories, opposite to the royal structure of the economic cycle capitalist.11<\/sup><\/p>\n

In Architecture and Utopia, Tafuri returns to affect again in this point. According to him, the proliferation of a design underground of protest has become institutionalized, spread for international organizations, and admitted into a circle of elite.12<\/sup> The fact that the whole conceptual movement of the architecture began and ended in the MoMA in 1960, with the exhibition Visionary Architecture<\/a><\/em> and, in 1972, with the exhibition New Domestic Landscapes: Achievements and Problems of the Italian Design<\/em><\/a>, demonstrates it.<\/p>\n

Tafuri, in addition, speaks of useless call to the disalignment, of the elimination of the critiques inside the own process, the poetry of the ambiguity, and of the construction of a semantic structure in the sense of turning the city into a machine that issues messages of an incessant way. To flirt with the chaos finds echo in his thought. Without leaving the Utopia of design, the processes that had overcome concretely the level of the ideology, they are subverted by the redemption to the chaos, the contemplation of the distress that the Constructivism<\/a>\u00a0seemed to have made eliminate forever, and the sublimation of disorder.13<\/sup> Or still: In order to support a metropolitan space, the architecture seems to be obliged to turn into a spectrum of yes misma.14<\/sup><\/p>\n

The final verdict is overwhelming: The crisis of the modern architecture is not the result of the weariness or the dispersion. It is rather a crisis of the ideological condition of arquitectura.15\u00a0<\/sup>According to him, the redemption already is not possible: not for the worrying and erratic wanderings for the labyrinths of images that for his polyvalency come up to the point of turning into quiet images, not for the self-complacency of an absorbed geometry in his own complexity and perfection. The drama of the architecture is to be forced to return to the pure architecture, forms without Utopia, at best, to return to his sublime uselessness.16<\/sup> Probably, in the deepest of the genetic code of the architectural thing, the gene of the Utopia resides, in eternal diaspora towards a possible topos, in constant tour towards an imagined world better than something the current one.<\/p>\n

I do not believe that it could be said too highly, but from a reasonable distance to his powerful ideological body, Manfredo Tafuri had reason. Probably, in the deepest of the genetic code of the architectural thing, the gene of the Utopia resides, in eternal diaspora towards a possible topos, in constant tour towards an imagined world better than something the current one.<\/p>\n

Miquel Lacasta.\u00a0PhD architect
\nBarcelona,\u00a0october 2012<\/p>\n

Notes:<\/p>\n

\n

1<\/sup>\u00a0TORALDO DI FRANCIA, Cristiano, Superstudio & Radicaux, MIGAYROU F. (ed) Cat. Architecture radicale, Institut d\u2019Art Contemporain \u2013 IAC, Villeurbanne,\u00a0January\u00a0to May, 2001, p. 153.<\/p>\n

\u201cThe radical architecture represents, beyond any definitive theory, a constant process of critique on the structure of the company, which rejects the use of this discipline in hands of contemporary neocapitalist reformers<\/em>\u201d.<\/p>\n

Notes: translation of the author.<\/p><\/blockquote>\n<\/div>\n

\n

2<\/sup>\u00a0Ib\u00eddem, p. 171.<\/p>\n<\/div>\n

\n

3<\/sup>\u00a0Ib\u00eddem, p. 183.<\/p>\n<\/div>\n

\n

4<\/sup>\u00a0\u201cil n\u2019ya de l\u2019espoir que dans l\u2019horreur\u201d.Ib\u00eddem, p.171.<\/p>\n<\/div>\n

\n

5<\/sup>\u00a0NATALINI, Adolfo, Inventory, Catalogs, Systems of Flux\u2026 a Statement.\u00a0Lectured at the Architectural Association, Londres, 3 March, 1971. En LANG, Peter\u00a0and MENKING, William, Superstudio, Life without objects, Skira Tur\u00edn, Milan, 2003, p. 164.<\/p>\n<\/div>\n

\n

6<\/sup>\u00a0Ib\u00eddem, p. 166.<\/p>\n<\/div>\n

\n

7<\/sup>\u00a0Ib\u00eddem, p. 164.<\/p>\n<\/div>\n

\n

8<\/sup>\u00a0Idem.<\/p>\n<\/div>\n

\n

9<\/sup>\u00a0Idem.<\/p>\n<\/div>\n

\n

10<\/sup>\u00a0Ib\u00eddem, p. 165-166.<\/p>\n<\/div>\n

\n

11<\/sup>\u00a0TAFURI, Manfredo, Design and Technological Utopi, en Emilio Ambasz, Italy: The New Domestic Landscape. Achievements and Problems of Italian Design. The exhibition Catalogue, The Museum of Modern Art, New York, 1972, p. 135.<\/p>\n<\/div>\n

\n

12<\/sup>\u00a0TAFURI, Manfredo, Architecture and Utopia: Design and Capitalist Development<\/a>, MIT Press, Cambridge\u00a0and London, 1976, p. 142.<\/p>\n<\/div>\n

\n

13<\/sup>\u00a0op. cit., TAFURI, 1976, p. 136.<\/p>\n<\/div>\n

\n

14<\/sup>\u00a0Ib\u00eddem, p. 145.<\/p>\n<\/div>\n

\n

15<\/sup>\u00a0Ib\u00eddem, p. 181.<\/p>\n<\/div>\n

\n

16<\/sup>\u00a0Ib\u00eddem, p. ix.<\/p>\n<\/div>\n

[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] El trabajo de Superstudio fue impulsado por diferentes intenciones. Superstudio describe su propio trabajo en t\u00e9rminos de \u2018arquitectura radical\u2019, \u2018anti-utop\u00eda\u2019, \u2018utop\u00eda negativa\u2019, o \u2018de guerrilla\u2019. Es, sobre todo, Cristiano Toraldo di Francia, co-fundador del grupo junto con Natalini, que trabajaron en esta base te\u00f3rica. Entend\u00eda la arquitectura radical de la d\u00e9cada de los 60 […]<\/p>\n","protected":false},"author":32,"featured_media":69154,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[13435,9901,367,4546,13438,393,530,668,6094,4522,2628,887,13436,2173,1241,10756,1278,2048,1329,13437],"class_list":["post-25210","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-adolfo-natalini","tag-arquitectura-constructivista","tag-constructivismo","tag-constructivismo-ruso","tag-cristiano-toraldo-di-francia","tag-critica","tag-estrategias","tag-historia","tag-manfredo-tafuri","tag-miquel-lacasta","tag-mit","tag-moma","tag-peter-lang","tag-rem-koolhaas","tag-sociedad","tag-superstudio","tag-teoria","tag-teoria-e-historia","tag-utopia","tag-william-menking"],"yoast_head":"\n[:es]Superstudio, la antiutop\u00eda radical | Miquel 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