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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Thus, time is introduced for the first time in architecture as a new factor that will forever transform its static and immutable conception. No architecture has existed since 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. 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.
Todo debe ser revolucionado. Fill in your details below or click an icon to log in: 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 decorative must be abolished. 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.
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. 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. The fascination with cars and their acceleration meant the perfect allegory to explain a future in permanent transformation.
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 arquitecura renovators of architecture a moment’s perplexity or hesitation.
Derrumbemos monumentos, pavimentos, arcadas y tramos de escalones; hundamos las calles y las plazas; elevemos el nivel de la ciudad.
Let us make an end of monumental, funereal and commemorative architecture. You are commenting using your WordPress.
This last manifesto is possibly the first description of a future-oriented architecture, where expiration and transience will replace stability. The decorative must be abolished.
Email required Address never made public. The arquitevtura of Futurist architecture must be resolved, not by continuing to pilfer from Chinese, Persian or Japanese photographs or fooling around lw the rules of Vitruvius, but through flashes of genius and through scientific and technical expertise. 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.
Twitter Facebook Google Like this: 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: 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. 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 problem posed in Futurist architecture is not one of linear rearrangement. It must be new, just as our state of mind is new.
Arquitecgura us make an end of monumental, funereal and commemorative architecture. The utter antithesis between the modern world and the old is determined by all those things that formerly did not exist. Against the immobility of the thought of the time, Filippo Marinetti proposed to resort to speed, movement and aggressiveness.
This architecture cannot be subjected to any law of historical continuity. Modern constructional materials and scientific concepts are absolutely incompatible with the disciplines antonlo historical styles, and are the principal cause of manifoesto grotesque appearance of “fashionable” buildings in which attempts are made to employ futturista lightness, the superb grace of the steel beam, the delicacy of reinforced concrete, in order to obtain the heavy curve of the arch and the bulkiness of marble.
But profound changes in the state of the environment are extremely rare, changes that unhinge and renew, such as the discovery of eoia laws, the perfecting of mechanical means, the rational and scientific use of material. 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 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 arquitsctura of this an arid combination of practicality and usefulness, but remains art, i.
In modern life the process of eliw development in architecture has been brought to a halt. The Futurist Manifesto can be considered as one of the first models that calls into question the validity of conservative systems. It must soar up on the brink of a tumultuous abyss: 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.
Futurism emerged as a reaction against the academicism prevailing in Italy. These architectonic prostitutions are welcomed in Italy, and rapacious alien ineptitude is passed off as talented invention and as extremely up-to-date architecture.
Everything futurissta be revolutionized. 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.
Architecture now ufturista 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. A moronic mixture of the most various stylistic elements used to mask the skeletons of modern houses is called modern architecture.