Superstudio’s radical architecture dissolves built form into conceptual systems, critiquing consumer society through speculative, non-buildable urban imaginaries.

Emerging from the intellectual turbulence of late-1960s Florence, Superstudio reconstituted architecture not as a discipline of construction but as a critical epistemology, wherein design operates through paradox, negation, and speculative projection. Rejecting the modernist alignment with industrial rationality, the group reframed architecture as a tool for problem-finding rather than problem-solving, exposing the ideological substrata of consumer capitalism. Their seminal project, the Continuous Monument, exemplifies this strategy: a vast, gridded megastructure extending infinitely across landscapes, erasing distinctions between city and countryside while rendering all spatial qualities—function, sensibility, hierarchy—null. This “negative utopia” operates not as a proposal but as a demonstratio per absurdum, revealing the latent totalising tendencies of modern planning by exaggerating them to conceptual exhaustion . Parallel to this, the Supersurface project advances a more immaterial paradigm, envisioning the Earth as a continuous infrastructural grid of information and services, where architecture dissolves into networked connectivity and cognitive extension, anticipating contemporary digital environments. A compelling case emerges in their “Twelve Ideal Cities,” each isolating and intensifying a single urban principle—such as zoning or uniformity—thereby exposing its insufficiency within complex socio-spatial realities. Ultimately, Superstudio’s work culminates in a radical dematerialisation of architecture into landscape, interface, and thought-space, aligning with Fuller’s planetary systems thinking yet diverging through its insistence on critique over optimisation, and proposing that the true site of architecture lies not in construction, but in the transformation of consciousness.

Arquitectura de piedra y cal como mediación ecológica y cultural

En un tiempo donde la arquitectura tiende a disolverse en el espectáculo o en el tecnofetichismo, ciertas construcciones rurales contemporáneas —como las mostradas en estas imágenes— reclaman un diálogo más sobrio y profundo con el territorio mediante el uso de materiales vernaculares reinterpretados con precisión contemporánea, donde la piedra seca y la cal aérea no sólo evocan tradiciones constructivas mediterráneas, sino que reactivan vínculos entre técnica, clima y memoria, configurando muros que no separan sino que median entre interior y exterior, pasado y presente; en estas edificaciones se observa un gesto compositivo claro: volúmenes puros que emergen con geometría rotunda sobre basamentos de mampostería rústica, una transición que no es sólo estética sino ecológica, ya que estos materiales transpiran, regulan la humedad, y reducen la huella energética, mientras establecen una textura visual que se funde con el entorno, logrando una forma de mimetismo tectónico sin caer en la mímesis literal; el caso paradigmático es el empleo de cal blanca sobre cuerpos superiores que capta la luz y contrasta con la densidad de la piedra inferior, recurso que reinterpreta las arquitecturas agrícolas tradicionales en clave minimalista y sin nostalgia, permitiendo que la vivienda se inscriba con naturalidad en el paisaje; este tipo de soluciones, además de técnicas, son culturales: actualizan la herencia sin negarla, respetan los ritmos climáticos sin renunciar a la contemporaneidad, y devuelven al habitante una forma de estar en el lugar sin imponerle una estética foránea ni una artificialidad tecnológica, resultando en arquitecturas silenciosas, radicalmente locales, sostenibles por su inteligencia material y potentes por su sobriedad formal, una lección relevante tanto para arquitectos como para gestores culturales que aspiran a integrar prácticas espaciales sensibles al contexto rural, climáticamente responsables y culturalmente informadas.

THE ROAD TO RESTORATION_________________FILM SERIES_____________________2022___________________LAPIEZA

There are currently several emerging roads of research on restorative environments and psychological restoration that can contribute to the conceptual and operational definition of the qualities of the environment that may be relevant to promoting mental health. The current film series are related to the recovery of cognitive resources and the psychophysiological response capacity that people experience when exposed to environments with restorative qualities.

THE ROAD IV 

https://www.youtube.com/watch?v=lKQr6-bLCGg&list=PL5jD5W08IxLLU6oIeiJF0Tjr-FzgniKCO

THE ROAD III 

https://www.youtube.com/watch?v=zmo5_Lddt0o&list=PL5jD5W08IxLKWBsV27lVc_yB1CHcBdbzV

THE ROAD II 

https://www.youtube.com/watch?v=iA3Rx5BMOrw&list=PL5jD5W08IxLLhI2C7eJ2hGn8Oez2ny2qd

THE ROAD I 

https://www.youtube.com/watch?v=OwmRs8jHnr8&list=PL5jD5W08IxLJ7S1GVc4-NpwiUoAy4zDVk&index=6

ART BY 

ANTONIO LLOVERAS CAMINOS

LAPIEZA ART SERIES

2021

2022

Dance is a form of art that is made by purposefully recreating selected sequences of human motion, with the values of aesthetic and symbolism that are acknowledged by both performers and observers. The dance can be freeform or can have a predefined choreography. The dance can be performed to serve social, competitive, ceremonial, martial and erotic functions.