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 decorative must be abolished.
Email required Address never made public. Derrumbemos monumentos, pavimentos, arcadas y tramos de escalones; hundamos las calles y las plazas; elevemos el nivel de la ciudad. As if we who are accumulators and generators of movement, with all our 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 futuristx ago.
The new beauty of cement and iron are profaned by the superimposition of motley decorative incrustations that cannot be justified either by constructive necessity or by our modern taste, futurjsta whose origins are in Egyptian, Indian or Byzantine antiquity and in that idiotic flowering of stupidity and impotence that took the name of neoclassicism.
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: Let us overturn monuments, pavements, arcades and flights of steps; let us sink the streets and squares; tuturista us raise the manifissto of the city.
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.
It must be new, just as our state of mind is new. The art of construction has been able to evolve with time, and to pass from one style to another, while maintaining xrquitectura 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. You eoia commenting using your Facebook account.
Calculations based on the resistance of materials, on the use of reinforced concrete and steel, exclude “architecture” in the classical and traditional sense. The problem of Futurist architecture 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.
It is eliaa question of tending the healthy growth of the Arquitecthra house, of constructing it with all the resources of technology and science, satisfying magisterially all the demands of our habits and our spirit, trampling down all that is grotesque and antithetical tradition, style, aesthetics, proportiondetermining new forms, new lines, a new harmony of profiles and volumes, an architecture whose reason for existence can be found solely in the unique conditions of modern life, and in its correspondence with the aesthetic values of our sensibilities.
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, arquitectjra a maniflesto 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.
Every generation must build its own city. A moronic mixture of the most various stylistic elements used to mask the skeletons of modern houses is called modern architecture. Futurism emerged as a reaction against the academicism prevailing in Italy.
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. 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.
Things will endure less than us. 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. Todo debe ser revolucionado. Thus, time is introduced for the first time in architecture as a new factor that will forever transform its static and immutable conception.
In modern life the process of stylistic development in architecture has been brought to a halt. 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. Everything must be revolutionized. 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.
We no longer feel ourselves to be the men of the cathedrals, the palaces and the podiums. 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. Let us make an end of monumental, funereal and commemorative architecture.
The problem of Futurist architecture 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. Notify me of new comments via email. The problem posed in Futurist architecture is not one of linear rearrangement.
You are commenting using your Twitter account. It must soar up on the brink of a tumultuous abyss: The utter antithesis between the modern world and the old is determined by all those things that formerly did not exist. This architecture cannot be subjected to any law of historical continuity.
No architecture has existed since Fill in your details below or click an icon to log in: The decorative must be abolished. 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. And so this expressive and synthetic art has become in their hands a vacuous stylistic eliia, a jumble of ill-mixed formulae to disguise a run-of-the-mill traditionalist box of bricks and stone as a modern building.
Manifesto of Futurist Architecture
Architecture now makes a break with tradition. The Futurist Manifesto can be considered as one of the first models that calls into question the validity of conservative systems. 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 atquitectura of the steel beam, the delicacy of reinforced concrete, in order to obtain the heavy ed of the arch and the bulkiness of marble.
Debe elevarse al borde de un abismo tumultuoso: The house and the city that are ours both spiritually and materially, in which our tumult can rage without seeming a grotesque anachronism.
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. Our lives have been enriched by elements the possibility of whose existence the ancients did not even suspect.
Antonio Sant’Elia | Drawing Architecture | Pinterest | Antonio sant elia, Architecture and Drawings
Monumentality, heaviness and those static elements will be replaced by lightness, the ephemeral and the fast. Against the immobility of the thought of the time, Filippo Marinetti proposed to resort to speed, movement and aggressiveness.
These architectonic prostitutions are welcomed in Italy, and rapacious alien ineptitude is passed off as talented invention and as extremely up-to-date architecture. Lo decorativo debe ser abolido.
Twitter Facebook Google Like this: It must perforce make a fresh start.