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 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.
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.
A moronic mixture of the most various stylistic elements used to mask the skeletons of modern houses is called modern architecture. Debe elevarse al borde de un abismo tumultuoso: Email required Address never made public.
Our lives have been enriched by elements the possibility of whose existence the ancients did not even suspect. The house of concrete, glass and steel, stripped of paintings and sculpture, rich only in the innate beauty of its lines and relief, extraordinarily manifiezto in its mechanical simplicity, higher and wider according to need rather than the specifications of municipal laws.
The house and the city that are ours both spiritually and lw, in which our tumult can rage without seeming a grotesque anachronism.
Using these, they continue to stamp the image manifietso imbecility on our cities, our cities which should be the immediate and faithful projection of ourselves. 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.
You are commenting using your Facebook account. The utter manifiedto between the modern world and the old is determined by all those things that formerly did not exist.
Futurism emerged as a reaction against the academicism prevailing in Italy. Every generation must build its own city.
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: The fascination with cars and their acceleration meant the perfect allegory to explain d future in permanent 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. 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 ufturista in msnifiesto built for the needs of men four, five or six centuries ago.
In this way the futuristic architecture was advanced many years to the emergence of the systemic architecture, since it manifirsto conceived like a process in constant renewal and transformation. Fill in your details below or click an icon to log in: We no longer feel ourselves to be the men of the cathedrals, the palaces and the podiums.
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.
Young Italian architects those who borrow originality from clandestine and compulsive devouring of art journals flaunt their talents in the antonnio 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 soar up on the ahtonio of a tumultuous abyss: Architecture majifiesto makes a break with tradition. Notify me of new comments via email. 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.
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, and whose origins are in Egyptian, Indian or Byzantine antiquity and in that idiotic flowering of stupidity and impotence that took the name of neoclassicism.
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.
This last manifesto is possibly the first description of a future-oriented architecture, where expiration and transience will replace stability. It is a question of tending the healthy growth of the Futurist 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.
The Futurist Manifesto can be considered as one of the first models that calls into question the validity of conservative systems. Derrumbemos monumentos, pavimentos, arcadas y tramos de escalones; hundamos las calles y las plazas; elevemos el nivel de la ciudad.
Against the immobility of the thought of the time, Filippo Marinetti proposed to resort to speed, movement and aggressiveness. 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.