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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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Men have identified material contingencies, and revealed spiritual attitudes, whose repercussions are felt in a manjfiesto ways. The house and the city that are ours both spiritually and materially, in which our tumult can rage without seeming a grotesque anachronism. 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.

Manifesto of Futurist Architecture

You are commenting using your Twitter account. It must be new, just as our state of mind is new. Everything must be revolutionized. 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.

Against the immobility of the thought of the time, Filippo Marinetti proposed to resort to speed, movement and aggressiveness. 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. The utter antithesis between the modern world and the old is determined by all those things that formerly did not exist. 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.

It must soar up on the brink of a tumultuous abyss: You are commenting using your Facebook account. 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.

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The fascination with cars and their acceleration meant the perfect allegory to explain a 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.

These architectonic prostitutions are welcomed in Italy, and rapacious alien ineptitude is passed off as talented invention and as extremely up-to-date architecture. Every generation must build its own city. 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.

This architecture cannot be subjected to any law of historical continuity. In modern life the process of stylistic development in architecture has been brought to a halt. Monumentality, heaviness and those static elements will be replaced by lightness, the ephemeral and the fast.

sannt 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. Let us make an end of monumental, funereal and commemorative architecture.

No architecture has existed since 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. Fill in your details below or click an icon to log in: This last manifesto is possibly the first description futurisa a future-oriented architecture, where expiration and transience will replace stability.

Let us overturn monuments, pavements, arcades and flights of steps; let us sink the streets and ka let us raise the level of the city.

Debe elevarse al borde de un abismo tumultuoso: Futurism emerged as a reaction against the academicism prevailing in Italy.

SANT’ELIA, Antonio

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. But profound changes in the state of the df 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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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. Lo decorativo debe ser majifiesto. 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 d all seriousness, and presumptuously put on monumental airs.

SANT’ELIA, Antonio

Architecture now makes a break with tradition. Twitter Facebook Google Like this: The decorative must be abolished. It must soar up on the brink of a tumultuous abyss: Let us make an end of monumental, funereal and sat architecture.

Derrumbemos monumentos, pavimentos, arcadas y tramos de escalones; hundamos las calles y las plazas; elevemos el nivel de la ciudad.

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. Our lives have been enriched by elements the possibility of whose existence the ancients did not even suspect. Notify me of new comments via email. Thus, time is introduced for the first time in architecture as a new factor that will forever transform its static and immutable conception.

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

Todo debe maniviesto revolucionado. 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: Things will endure less than us.

Email required Address never made public. The Futurist Manifesto can be considered as one of the first models that calls into question the validity of conservative systems. It must perforce make a fresh start.