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. Let us make an arquitwctura of monumental, funereal and commemorative architecture. 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. We have lost our predilection for the monumental, the swnt, the static, and we have enriched our sensibility with a taste for the light, the practical, the ephemeral and the swift. The Futurist Manifesto can be considered as one of the first models that calls into question the validity of conservative systems. Things will endure less than us.
Manifesto of Futurist Architecture
The decorative must be abolished. Email required Address never made public. A moronic mixture of the most various stylistic elements used to mask the skeletons of modern houses xntonio called modern architecture.
Calculations based on the resistance of materials, on the use of reinforced concrete and steel, exclude “architecture” in the classical and traditional sense.
This last manifesto is possibly the first description of a future-oriented architecture, where expiration and transience will replace stability.
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 maanifiesto. This architecture cannot be subjected to any law of historical continuity.
Lo decorativo debe ser abolido. The house and the city that are ours both spiritually and materially, in which our tumult can rage without seeming a grotesque anachronism. 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 not a question of finding new moldings and frames for windows and doors, of replacing columns, pilasters and corbels with caryatids, flies and frogs.
Futurism emerged as a reaction against the academicism prevailing in Italy. The decorative must be abolished. Fill in your details below or click an icon to log in: 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 fascination with cars and their acceleration meant the perfect allegory to explain a future in permanent transformation. The art of construction has been able to evolve with time, and to arquitctura 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 antonjo the alternations of religious conviction and political disposition.
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. Men have identified material contingencies, and revealed spiritual attitudes, whose repercussions are felt in a thousand ways. The problem posed in Futurist architecture is not one of linear rearrangement. You are commenting using your Facebook account.
You are commenting using your WordPress. 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. 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 steel beam, the delicacy of reinforced concrete, in order to obtain the heavy curve of the arch and the bulkiness of marble.
Todo debe ser revolucionado. It must be new, just as our state of mind is new. It must soar up on the brink of a tumultuous abyss: Let us make an end of monumental, funereal and commemorative architecture.
Notify me of new comments via email. 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.
Our lives have been enriched by elements the possibility of whose existence the ancients did not even suspect. In modern life the process of stylistic development in architecture has been brought to a halt. Derrumbemos monumentos, pavimentos, arcadas y tramos de escalones; hundamos las calles y las plazas; elevemos el nivel de la ciudad. Principal among these is the formation of a new ideal of beauty that is still obscure and embryonic, but whose fascination is already felt fururista by the masses.
Architecture now makes a break with tradition. That Futurist architecture is the architecture of calculation, of audacious temerity and of simplicity; the architecture of reinforced concrete, arquitectuga 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.
Everything must be revolutionized. And so this expressive and synthetic art has become in their hands a vacuous stylistic exercise, a jumble tuturista ill-mixed formulae to disguise a run-of-the-mill traditionalist box of bricks and stone as a modern building.
No architecture has existed since 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. The utter antithesis between the modern world and the old is determined by all those things that formerly did not exist.
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.
It is a eloa of tending the healthy aantonio 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.
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, Antonoi pointed arches, Egyptian pilasters, rococo scrolls, fifteenth-century cherubs, swollen caryatids, take the place of style in all seriousness, and presumptuously manifeisto on monumental airs.
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 angonio according to need rather than the specifications of municipal laws.
Every generation must build its own city. You are commenting using your Twitter account. Debe elevarse al borde de un abismo tumultuoso: