Whilst most of these structures appear as if they threaten to remove inhabitants from the natural world, this is somewhat revoked, as portrayed throughout my sequence of images, as nature itself becomes a part of the structure through the sky’s reflection and the use of grids masking reality from the future, as well as including various chosen techniques of Superstudio and placing my own ‘tweak’ on them. Superstudio’s work inspired me to look beyond what I was just seeing in the image and create something ‘out of this world’ something that reflected the world and future in a dramatic way. Thus, amongst a previously unwelcoming outlook comes a shred of hope for the future, through the newfound interpretation of the Supersurface as a theoretical ideal city is ‘created’ whereby people live in a nomadic existence and are thus freed from repetitive work and consumerist desires. This was a repetitive and very common theme throughout Superstudio’s work thus evident in their rejection of the conservatism values of the 1920’s, which looked backwards in an effort to preserve its structures. The shocking aftermath of the flooding in Florence thus ‘inspired’ Superstudio subverting these views by proposing the Arno River should be blocked in order to submerge Florence. In similar fashion to other works of Superstudio, offer a fragment of hope amongst these visons of dystopia regarding the resurrection of nature over industry. Superstudio were highly influential and the level of volume they spoke through their creations have touched and inspired many across the world.