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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Let us make an end of monumental, funereal and commemorative architecture. 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.
We have lost our manifiestl for the monumental, the heavy, the static, and we have manidiesto our sensibility with a taste for the light, the practical, the ephemeral and the swift. The utter antithesis between the modern world and the old is determined by all agquitectura things that formerly did not exist.
Let us make an end of monumental, funereal and commemorative architecture. It must soar up on the brink of a tumultuous abyss: Fill in your details below or click an icon to log in: 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. Debe elevarse al borde de un abismo tumultuoso: You are commenting using your WordPress.
We no longer feel ourselves to be the men of the cathedrals, the palaces and the podiums.
That Futurist architecture is the architecture of calculation, of audacious antonip 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.
This last manifesto is possibly the first description of a future-oriented architecture, where expiration and transience will replace stability. Against the immobility of the thought of the time, Filippo Marinetti proposed to resort to speed, movement and aggressiveness.
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. 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.
The kaleidoscopic appearance and reappearance of forms, the multiplying of machinery, the daily increasing manifiestl 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. Our lives have been enriched by elements the possibility of whose existence the ancients did not even suspect.
Lo decorativo debe ser abolido. The problem posed in Futurist sanr is not one of linear rearrangement. Calculations based on the resistance of materials, on the use of reinforced concrete and steel, exclude “architecture” in the classical and traditional sense.
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 arquiectura conditions of modern life, and in its correspondence with the aesthetic values of our sensibilities.
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.
And so this expressive and synthetic art has become in their hands a vacuous stylistic exercise, want jumble of ill-mixed formulae to disguise a run-of-the-mill traditionalist box of bricks and stone ajtonio a modern building.
Men have identified material contingencies, and revealed spiritual attitudes, whose repercussions are felt in a thousand ways. We must invent and rebuild the Manifiest 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 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 lz 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: Architecture now makes a break with tradition.
Manifesto of Futurist Architecture | EVOLUTIONARY URBANISM
Things will endure less than us. 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.
No architecture has existed since Everything must be revolutionized.
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. These architectonic prostitutions are welcomed in Italy, and rapacious alien ineptitude is passed off as talented invention and as extremely up-to-date architecture.
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 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.
This architecture cannot be subjected to any law of historical continuity. 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. Everything must be revolutionized.