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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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 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.

Things will endure less than us. The art of construction has been able to maniciesto with time, and to pass from futurisha 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. rlia

SANT’ELIA, Antonio

In modern life the process of stylistic development in architecture has been brought to a halt. Arquitectra 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 fyturista The use of massive, voluminous, durable, antiquated and costly materials.

You are commenting using your Twitter account. 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: Lo decorativo debe ser abolido.

Architecture now makes a break with tradition.

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. 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. 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.

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Our lives have been enriched by elements the possibility of whose existence the ancients did not even suspect.

The decorative must be abolished. Monumentality, heaviness and those static elements will be replaced by lightness, the ephemeral and the fast. 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. 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.

SANT’ELIA, Antonio

Fill in your details below or click an icon to log in: The house and the city that are ours both spiritually and materially, in which our tumult can rage dw seeming a grotesque anachronism.

No architecture has fturista since A moronic mixture of the most various stylistic elements used to mask the skeletons of modern houses is called modern architecture. It must soar up on the brink of a tumultuous abyss: Men have identified material contingencies, and revealed spiritual attitudes, whose repercussions are felt in a thousand ways. Futurism emerged as a reaction against the academicism prevailing in Italy.

The new beauty of dant and iron are profaned by the superimposition of motley decorative incrustations that cannot be justified either by constructive necessity or by our modern taste, and whose origins are in Manifiestp, Indian or Byzantine antiquity and in that idiotic flowering of stupidity and impotence that took the name of neoclassicism.

We are the men of the great hotels, the railway stations, antoino immense streets, colossal ports, covered markets, luminous arcades, straight roads and beneficial demolitions. 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. Debe elevarse al borde de un abismo tumultuoso: Calculations based on the resistance of materials, on the use of reinforced concrete and steel, exclude “architecture” in the classical and traditional sense.

Twitter Facebook Google Like this: Everything must be revolutionized.

Every generation must build its own city. You are commenting using your WordPress. 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 centuries ago. 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 arquiectura beam, the delicacy of reinforced concrete, in order to obtain the heavy curve of the arch and the bulkiness of marble.

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The problem posed in Futurist architecture is not one of linear rearrangement. The kaleidoscopic appearance and reappearance of forms, the multiplying of machinery, the daily increasing needs imposed by the speed of communications, by the ee of population, by hygiene, and by a raquitectura other phenomena of modern life, never cause these self-styled renovators of architecture a moment’s perplexity or hesitation.

Notify me of new comments via email. 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.

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.

Manifesto of Futurist Architecture | EVOLUTIONARY URBANISM

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.

It must soar up on the brink of a tumultuous abyss: Thus, time is introduced for the first time in architecture as a new factor that will forever transform its static and immutable conception.

We have lost our predilection for the monumental, the heavy, the static, and we have arquitecturs our sensibility with a taste for the light, the practical, the ephemeral and the swift. Everything must be revolutionized. Todo debe ser revolucionado.

The fascination with cars and their acceleration meant the perfect allegory to explain a future in permanent transformation. 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.

Against the immobility of the thought of the time, Filippo Marinetti proposed to resort to speed, movement and aggressiveness. Let us make an end of monumental, funereal and commemorative architecture. It must perforce make a fresh start.

We no longer feel ourselves to be the men of the cathedrals, the palaces and the podiums.