Antonio Sant’Elia. No architecture has existed since A moronic mixture of the most various stylistic elements used to mask the skeletons of modern houses . Author: Antonio Sant’Elia “We must invent and rebuild the Futurist city El problema de la arquitectura Futurista debe ser resuelto, no siguiendo a El Manifiesto Futurista se puede considerar como uno de los primeros. Antonio Sant’Elia, con sus conocidas ciudades de diferentes niveles de Fani, redactaba otro manifiesto de arquitectura futurista, en el que se abogaba por las .
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The fascination with cars and their acceleration meant the perfect allegory to explain a future in permanent transformation.
No architecture has existed since You are commenting using your WordPress. As if we who are accumulators and generators of movement, with all manifiesfo added mechanical limbs, with all the noise and speed of our life, could live in streets built for the needs of men four, five or six centuries ago.
This is the supreme imbecility of modern architecture, perpetuated by the venal complicity of the academies, the internment camps of the intelligentsia, where the young are forced into the onanistic recopying of classical models instead of throwing their minds open in the search for new frontiers and in the solution of the new and pressing problem: In this way the futuristic architecture was advanced many years to the emergence of the systemic architecture, since it was conceived like a process in constant renewal and transformation.
Things will endure less than us. Calculations based on the resistance of materials, on the use of reinforced concrete and steel, exclude “architecture” in the classical and traditional sense.
Let us make an end of monumental, funereal and commemorative architecture. Principal among these is the formation of a new manifuesto of beauty that is still obscure and embryonic, but whose fascination sqnt already felt even by the masses. And so this expressive and synthetic art has become in their hands a vacuous stylistic exercise, a jumble of ill-mixed formulae to disguise a run-of-the-mill traditionalist box of bricks and stone as a modern building.
Antonio Sant’Elia | Drawing Architecture | Pinterest | Antonio sant elia, Architecture and Drawings
You are commenting using your Facebook account. Debe elevarse al borde de un abismo tumultuoso: It must soar up on the brink of a tumultuous abyss: The house of concrete, glass and steel, stripped of paintings and sculpture, rich only in the innate beauty of its lines and relief, extraordinarily “ugly” in its mechanical simplicity, higher and wider according to need rather than the specifications of municipal laws.
The decorative must be abolished. That Futurist architecture is the architecture of calculation, of audacious temerity and of simplicity; the architecture of reinforced concrete, of steel, glass, cardboard, textile fiber, and of all those substitutes for wood, stone and brick that enable us to obtain maximum elasticity and lightness; That Futurist architecture is not because of this an arid combination of practicality and usefulness, but remains art, i.
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Let us overturn monuments, pavements, arcades and flights of steps; let us sink the streets and squares; let us raise the level of the city. We no longer feel ourselves to be the men of the cathedrals, the palaces and the podiums. Modern constructional materials and scientific concepts are absolutely incompatible with the disciplines of historical styles, and are the principal cause of the grotesque appearance of “fashionable” buildings in which attempts are made to employ the lightness, the superb grace of the steel beam, the delicacy of reinforced concrete, in order to obtain the heavy curve of the arch and the bulkiness of marble.
It must soar up on the brink of a tumultuous abyss: It must be new, just as our state of mind is new.
We must invent and rebuild the Futurist city like an immense and tumultuous shipyard, agile, mobile and dynamic in every detail; and the Futurist house must be like a gigantic machine. Fill in your details below or click an icon to log in: It is not a question of finding new moldings and frames for windows and doors, of replacing columns, pilasters and corbels with caryatids, flies and frogs.
Twitter Facebook Google Like this: Todo debe ser revolucionado. Let us make an end of monumental, funereal and commemorative architecture. Monumentality, heaviness and those static elements will be replaced by lightness, the ephemeral and the fast.
They persevere obstinately with the rules of Vitruvius, Vignola and Sansovino plus gleanings from any published scrap of information on German architecture that happens to be at hand. Futurism emerged as a reaction against the academicism prevailing in Italy. We are the men of the great hotels, the railway stations, the immense streets, colossal ports, covered markets, luminous arcades, straight roads and beneficial demolitions. All the pseudo-architecture antonko the avant-garde, Austrian, Hungarian, German and American; All classical architecture, solemn, hieratic, scenographic, decorative, monumental, pretty and pleasing; The embalming, reconstruction and reproduction of ancient monuments and palaces; Perpendicular and horizontal lines, cubical and pyramidical forms that are static, solemn, aggressive and absolutely excluded from our utterly new sensibility; The use of massive, voluminous, durable, antiquated and costly materials.
Notify me of new comments se email. Using antoni, they continue to stamp the image of imbecility on our cities, our cities which should be the immediate and faithful projection of ourselves.
In modern life the process of stylistic development in architecture has been brought to a halt. Young Italian architects those who borrow originality from clandestine and compulsive devouring of art journals flaunt their talents in the new quarters of our towns, where a hilarious salad of little ogival columns, seventeenth-century foliation, Gothic pointed arches, Egyptian pilasters, rococo scrolls, fifteenth-century cherubs, swollen caryatids, take the place of style in all seriousness, and presumptuously put on monumental airs.
This architecture cannot be subjected to any law of historical continuity. The problem of Futurist fyturista must be resolved, not by continuing to pilfer from Chinese, Persian or Japanese photographs or fooling around with the rules of Vitruvius, but through flashes of genius and through scientific and technical expertise. The decorative must be abolished.
Against the immobility of the thought of the time, Filippo Marinetti proposed to resort to speed, movement and aggressiveness. The kaleidoscopic appearance and reappearance of forms, the multiplying of machinery, the daily increasing needs imposed by the speed of communications, by the concentration of population, by hygiene, and by a hundred other phenomena of modern life, never cause these self-styled renovators of architecture a moment’s perplexity or hesitation.
Every generation must build its own city. This constant renewal of the architectonic environment will contribute to the victory of Futurism which has already been affirmed by words-in-freedom, plastic dynamism, music without quadrature and the art of noises, and for which we fight without respite against traditionalist cowardice. These architectonic prostitutions are welcomed in Italy, and rapacious alien ineptitude is passed off as talented invention and as extremely up-to-date architecture.
The house and the city that are ours both spiritually and materially, in which our tumult can rage without seeming a grotesque anachronism.
This last manifesto is possibly the first description of a future-oriented architecture, where expiration and transience will replace stability. We have lost our predilection for the monumental, the heavy, the static, and we have enriched our sensibility with a taste for the light, the practical, the ephemeral and the swift. A moronic mixture of the antnio various stylistic elements used to mask the skeletons of modern kanifiesto is called modern architecture.
Manifesto of Futurist Architecture | EVOLUTIONARY URBANISM
Men have identified material contingencies, and revealed spiritual attitudes, whose repercussions are felt in a thousand ways. The Futurist Manifesto can be considered as one of the first models that calls into question the validity of conservative systems. You are commenting using your Twitter account. Thus, time is introduced for the first time in architecture as a new factor that will forever transform its static and immutable conception. The problem posed in Futurist architecture is not one of linear rearrangement.