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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No architecture has existed since A moronic mixture of the most various stylistic elements used to mask the skeletons of modern houses is maanifiesto modern architecture.
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, Lla 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.
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.
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 self-styled renovators of architecture a moment’s perplexity or hesitation.
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. 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, a jumble of ill-mixed formulae to disguise a run-of-the-mill traditionalist box of bricks and stone as a modern building.
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. 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: 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 posed in Futurist architecture is not one of linear rearrangement. It is not a question of finding new moldings and frames for windows and doors, of arqjitectura columns, pilasters and corbels with caryatids, flies and frogs. It is a question of tending the healthy growth ahtonio the Futurist house, of constructing it with all the resources of technology and science, satisfying magisterially all the demands of our habits and our fiturista, 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.
This architecture cannot be subjected to any law of historical continuity.
It must be new, just as our state of mind is new. 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.
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 manifeisto.
In modern life the process of stylistic development in architecture has been brought to a halt.
Architecture now makes a break with tradition. It must perforce make a fresh start. Calculations based on the resistance of materials, on the use of reinforced concrete and steel, exclude “architecture” in the classical and traditional sense. 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.
The utter antithesis between the modern world and the old is determined by all those things that formerly did not exist.
Our lives have been enriched by elements the possibility of whose existence the ancients did not even suspect.
Men have identified material contingencies, and revealed spiritual attitudes, whose repercussions are felt in a thousand ways. Principal among these is the formation of a new ideal of beauty that is still obscure and embryonic, but whose fascination is manifieeto felt even by the masses.
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.
We no longer feel ourselves to be the men of the cathedrals, the palaces and the podiums. 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.
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. 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.
Antonio Sant’Elia | Drawing Architecture | Pinterest | Antonio sant elia, Architecture and Drawings
It must soar up on the brink of a tumultuous abyss: The decorative must be abolished. 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. Everything must be revolutionized. Let us make an end 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.
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.
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.
Things will endure less than us. Every generation must build its own city. 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.