ANTONIO SANT ELIA MANIFIESTO DE LA ARQUITECTURA FUTURISTA PDF
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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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.
The maniriesto and the city that are ours both spiritually and materially, in which our tumult can rage without seeming a grotesque anachronism. Notify me of new comments via email. In this way the angonio architecture was advanced many years to the emergence of the systemic architecture, since it was conceived like a process in constant renewal and transformation. 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.
Things will endure less than us. Futurism emerged as a reaction against the academicism prevailing in Italy.
It must soar up on the brink of a tumultuous abyss: Sang architectonic prostitutions are welcomed in Italy, and rapacious alien ineptitude is manifieesto off as talented invention and as extremely up-to-date architecture. 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.
Against the immobility of the thought of the time, Filippo Marinetti proposed to resort to speed, movement and aggressiveness.
All the pseudo-architecture of 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.
You are commenting using your WordPress. Lo decorativo debe ser abolido. Principal among these is the formation of a new ideal of beauty that is still obscure and embryonic, but whose fascination is already felt even by the masses. But profound changes in the state of the environment are extremely rare, changes that unhinge and renew, such as the discovery of natural laws, the perfecting of mechanical means, the rational and scientific use of material. 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.
Antonio Sant’Elia | Drawing Architecture | Pinterest | Antonio sant elia, Architecture and Drawings
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. We no longer feel ourselves to be the men of the cathedrals, the palaces and the podiums.
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.
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.
It must be new, just as our state of mind is new. Derrumbemos monumentos, pavimentos, arcadas y tramos de escalones; hundamos las calles y las plazas; elevemos el nivel de la ciudad.
Using these, 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.
The problem posed in Futurist architecture is not one of linear rearrangement. Every generation must build its own ed. 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 mnaifiesto the arch and the bulkiness of marble.
The decorative must be abolished.
It must perforce make a fresh start. Calculations based on the resistance of materials, on the use of reinforced concrete and steel, exclude manidiesto in the classical and traditional sense. Let us make an end of monumental, funereal and commemorative architecture. 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 futuirsta of bricks and stone as a modern building.
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. Twitter Facebook Google Like this: It must soar up on the brink of a tumultuous abyss: Our lives have manifieso enriched by elements the possibility of whose existence the ancients did not even suspect.
The fascination with cars and their acceleration meant the perfect allegory to explain a future in permanent transformation. This architecture cannot be subjected to any law of historical continuity. The art of construction has been able to evolve with time, and to pass from one style to another, while maintaining unaltered the general characteristics of architecture, because in the course of history changes of fashion are frequent and are determined by the alternations of religious conviction and political disposition.
Debe elevarse al borde de un abismo tumultuoso: This last manifesto is possibly the first description of a future-oriented architecture, where expiration and transience will replace stability. The utter antithesis between the modern world and the old is determined by all those things that formerly did not exist.