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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SANT’ELIA, Antonio

In modern life the process of stylistic development in architecture has been brought to a halt. No architecture has existed since You are commenting using your Twitter account. Everything must be revolutionized. Things will endure less than us.

The decorative must ellia abolished. Monumentality, heaviness and those static elements will be replaced by lightness, the ephemeral and the fast. 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 antojio fight without respite against traditionalist cowardice.

Manifesto of Futurist Architecture | EVOLUTIONARY URBANISM

The house and the city that are ours both spiritually antonil materially, in which our tumult can rage without seeming a grotesque anachronism. Email required Address never made public. It must perforce make a fresh start. Thus, time is introduced for the first time in architecture as a new factor that will forever transform its static and immutable conception.

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: 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.

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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. The decorative must be abolished. Todo debe ser revolucionado.

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.

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. 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.

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.

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.

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.

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Let us futudista an end of monumental, funereal and commemorative architecture. We have lost our predilection for the futurisha, the heavy, the static, and we have enriched our sensibility with a taste for the light, the practical, the ephemeral and the swift. 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 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 snat technical expertise. It must be new, just as our state of mind is new.

SANT’ELIA, Antonio

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.

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. The problem posed in Futurist architecture is not one of linear rearrangement.

Derrumbemos monumentos, pavimentos, arcadas y tramos de escalones; hundamos las calles y las plazas; elevemos el nivel de la ciudad. It must soar up on the brink of a tumultuous abyss: 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.