Superstudio, New-New York, 1969. © Superstudio. From the Collection of the Alvin Boyarsky Archive.

圖：《聚變：AA倫敦建築聯盟的前銳時代》展場，Superstudio展出作品

以義大利佛羅倫斯（Florence）為據點的超級工坊，於1966年成立後，旋即成為推動當地「激進建築」（Radical Architecture，義大利文為Architettura Radicale）的一股力量。他們與佛羅倫斯其他團體所提出的理念相同，是對現代主義的侷限性和對於自身環境中特殊事件的回應，包括1966年重創佛羅倫斯的大水災，以及在1968年的學生抗議運動導致一觸即發的社會對峙。超級工坊以蒙太奇手法製作的海報，除了展現他們的反烏托邦願景，喚起當時對科技發展和社會、文化及環境議題的關注，同時也使他們得以和當時國際間的交流與討論接軌。

超級工坊最有名的計畫之一《連續的紀念碑》，是關於在一座巨大且空無一物的巨型結構裡創造城市的秩序，而博亞爾斯基典藏則是收錄了此計畫中相當知名的《紐約新象》攝影拼貼，內容呈現一個環繞曼哈頓（Manhattan），並繼而將全世界包圍的巨型建構物。此計畫的故事分鏡腳本下方的副標寫著：「一個全面城市化的建築模型」，為《連續的紀念碑》在紀念式建築線性發展的形態中，找到它的歷史定位。

Superstudio, founded in Florence in 1966, quickly became one of the dynamos of the Italian Architettura Radicale (Radical Architecture) wave. With other Florence-based groups, Superstudio responded to the limitations of modernism and to the particularities of its own context, including the devastating Florentine flood of 1966 and the social tensions that culminated in the 1968 student protests. Superstudio’s dystopian visions were put forth in montaged posters that called attention to contemporary conditions such as the relationship of technological progress to social, cultural, and environmental issues. With their posters, they connected to a global web of contemporary discourse.

The Continuous Monument, one of Superstudio’s best-known projects, orders cities within one large, empty mega structure. It is represented in the Boyarsky Archive with the famous New-New York photo-collage, depicting the monolithic monument as it wraps around Manhattan and continues around the globe. The project’s storyboard, with its subtitle “an architectural model for total urbanization,” situates The Continuous Monument in a historical lineage of monumental architectural forms.