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Ha mediado de los anos sesenta, en plena ebullicion cultural unos jovenes arquitectos italianos inician a moverse en el campo de la critica y la teoria arquitectonica adoptando medios que en algun caso excedian el ambito disciplinar. En 1973 el critico de arte Germano Celant define los trabajos de estos arquitectos con el termino de Arquitectura Radical. En 1969 unos de los grupos radicales presenta un trabajo con connotaciones claramente visio-narias, que planteaba la propuesta de un proyecto al limite de las posibilidades de la arquitec-tura. La obra es Monumento Continuo de Superstudio. A traves de su relectura se quiere apreciar el trabajo no tanto dentro de los limites de la arqui¬tectura radical, asimismo apartarse por un momento de las criticas contemporaneas que se cinen exclusivamente en definir la obra del Monumento Continuo como una contra-utopia; ambas condiciones son mas que evidentes. De este modo la investigacion se plantea como una abertura, una invitacion a reflexionar sobre otros mecanismos de relaciones y contactos que el proyecto establece en los diferentes contextos en el cual es representado y sobre todo los cabos que han sido recogido para el debate sobre la arquitectura contemporanea. A traves de particulares formas de representacion, cuyas protagonistas son las imagenes y los discursos, se inventa un nuevo sistema de pensamiento donde las relaciones convencionales o el razonamiento entre arquitectura y naturaleza, arquitectura y ciudad, arquitectura e histo¬ria desarrollan un proceso de revision critica. Cada representacion del Monumento Continuo supone una disputa, una exhibicion de problematicas sobre los argumentos principales de la disciplina arquitectonica. La sucesion de las condiciones que se presentan, plantean un exten¬so catalogo que repasa y critica la modernidad. La investigacion trata de ofrecer otra vision que no contradice las tesis y los metodos esta¬blecidos de la critica de aquel entonces y de la contemporanea, sino de otra forma de mirar que ha querido distraerse del contexto. Ensenar que fuera de las ataduras de las definiciones categorias quizas es posible descubrir otros puntos de contacto que abren la obra hacia nuevas coexistencias de temporalidades y espacialidades. El proyecto del Monumento Continuo representa el proceso constante en el cual el monumen¬to, el paisaje, la historia sufren incesantes transformaciones; la inestabilidad e indetermina¬cion de los conceptos de memoria, lugar, forma, funcion, proporcionando un mayor grado de libertad para actuar dentro de un marco arquitectonico cuyas bases nunca son sinteticas y definitivas. Una obra que en su momento cuestionaba la arquitectura como herramienta util y necesaria para una comoda vida, sin aspirar a convencer sino solo a provocar, al contrario proponia otra manera de pensar o de recurrir a la praxis del proyecto, quizas mas filosofica. Es decir, la disciplina como herramienta que discute, cuestiona y revoluciona los axiomas, que planeta preguntas y que muestra como sus confines no son nunca definidos totalmente. ABSTRACT In the middle of the 60s, in full cultural swing, some young Italian architects started moving within the field of criticism and architectural theory, adopting means that, in some cases, exceeded the disciplinary scope. In 1973, the art critic Germano Celant defines the works of these architects with the term of Radical Architecture. In 1969, one of the radical groups presents a work with strongly visionary connotations, which raised the proposal of a project within the limits of architecture. The work is Monu¬mento Continuo of Superstudio. Through its re-lecture, it is intended to appreciate the work not only within the limits of the radical architecture but also to move away, for one moment, from the contemporary critics that are exclusively confined to define the work of the Monumento Continuo as a coun¬ter-utopia; both conditions are more than clear. This way, the research is proposed as an ope¬ning, an invitation to reflect about other mechanisms of relationships and contacts that the project establishes in the different contexts in which it is represented and about all the pieces that have been collected for the debate on contemporary architecture. By means of particular forms of representation, whose main characters are images and spee¬ches, a new system of thought is invented where conventional relationships or the reasoning between architecture and nature, architecture and city, architecture and history develop a process of critical review. Each representation of the Monumento Continuo implies a dispute, a display of problems about the main arguments of an architectural discipline. The succes¬sion of the conditions that are presented provides an extensive catalogue that goes over and criticize modernity. The research tries to offer a different view that does not contradict the established thesis and methods of the critique, then and now; it is another way of looking that has intended to divert from context. It tries to teach that it may be possible to discover other contact points outside the bonds of the categorical definitions that open the work towards new coexistences of tem-poralities and spatialities. The project of the Monumento Continuo represents the constant process in which the mo¬nument, the landscape, the history… undergo constant transformations; the instability and indeterminacy of the concepts of memory, place, shape and function, by providing a greater degree of freedom to act within an architectural frame whose basis are never synthetic and definitive. A work that at the time challenged architecture as a useful and necessary tool for a comforta¬ble life, without seeking to convince but to provoke; on the contrary, it presented another way of thinking or of resorting to the praxis of the project, maybe a more philosophical one. That is to say, discipline as a tool that argues, questions and revolutionizes the axioms, that raises questions and that shows how its boundaries are never completely defined.

El Monumento Continuo : una propuesta crítica en tiempos de cambio