Futurist architecture

Futurist architecture

Futurist architecture is an early 20th century form of architecture was born in Italy, characterized by strong chromaticism, long dynamic lines, which indicates the speed, movement, urgency and lyrical, it was part of Futurism, an artistic movement founded by the poet Filippo Tommaso Mari Netti, who produced the first manifesto its Manifesto of Futurism in 1909. The movement attracted not only poets, musicians and artists (like Umberto Boccio, Giacomo Balla, Fortunato Depero and Enrico Prampolini) but also a number of architects. A cult machine age and even glorification of war and violence were among the themes Futurists (several prominent futurists were killed after volunteering to fight in the First World War). In the second group of the architect Antonio Sant'Elia, who, however, building small, meant futurist vision into urban form.

History of Italian Futurism

In 1912, three years after Mari Netti's futurist Manifesto, Antonio Sant'Elia and Mario Chiattone participate in Nuove Tendenze [3] exhibition in Milano. 1914 the group presented the first report of a "message" by Sant'Elia, later, with contributions Filippo Tommaso Mari Netti became Manifesto dell'Architettura Futurism ("Manifesto of futurist architecture"). [2] Also Boccio unofficially worked on similar policies, but Mari Netti selected paper Sant'Elia is.

Later in 1920, another manifesto was written by Virgilio Marchi, Futurism Manifesto dell'Architettura-Dina Mica ("Manifesto Dynamic instinctive Drama futurist architecture"). [2] Ottorino Aloísio won in style established by Marchi, one example is the Casa del Fascio in his Asti.

Another futurist manifesto related to architecture Manifesto dell'Arte Sacra Futurism ("Manifesto of Sacred Art futurist") with Fillia (Luigi Colombo) [2] and Filippo Tommaso Mari Netti, which was published in 1931. On January 27, 1934 it was the turn of the Manifesto of Aerial Architecture with Mari Netti, Angiolo Mazzoni and Mino Somenzi. [2] Mazzoni had officially followed futurism only the year before. In this paper the Lingotto factory by Giacomo Matte-Trucco is defined as the first futurist constructive invention. [2] Mazzoni himself in these years the building considered a masterpiece today [4] of futurist architecture, as the heating plant and the main control cabin at the Santa Maria Novella train station in Florence.

 Futurist architecture

Futuristic architecture 2015

No architecture has existed since 1700. A moronic mixture of the most various stylistic elements used to mask the skeletons of modern houses is called 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, Indian 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.

 

 Futuristic architecture 2015