Portaaviones en el paisaje (Aircraft Carrier in the Landscape) responds to Hollein’s way of harmonising geometry and nature. Sometimes, that relationship is performed by collision, viewing conflict as a means of integration. The collage also features a play of scales, a contrast of the decontextualised object expressing the perceptual evidence of superstructures in the territory. His way of making art was the future.

Superstudio was founded in 1966 by two radicals – Adolfo Natalini and Cristiano Toraldo di Francia. Later they were joined by Alessandro and Roberto Magris and Piero Frassinelli. The central theme of Superstudio’s agenda revolves around its disillusionment with the modernist ideals that had dominated architectural and design thinking since the early 1900s. By the late 1960s, a time defined by its dynamism, modernism had hit intellectual stasis. Superstudio adopted a critical position in relation to architectural production, blaming it for having aggravated the world’s social and environmental problems. Equally pessimistic about politics, the group developed visionary sci-fi scenarios in the form of photo-montages, sketches, collages and storyboards of a new anti-design culture in which everyone is given a sparse, but functional space to live in free from superfluous objects. They pointed to a more direct interaction of humans with their environment. A relationship that is now back to the forefront, but with less hippie and utilitarian connotations, more speculationoriented and based on the sale of luxury and exclusiveness.

Continuous Monument should have covered the whole of the earth in a single structure. For instance, in New York, a superstructure links the river Hudson with the end of the peninsula connecting Brooklyn and New Jersey. A structure containing Manhattan skyscrapers. The rest is Central Park. From the bay we see New York transformed by the Continuous Monument into a large platform mirroring the clouds and the sky.