Sant’Elia Milano’ya döndüğü zaman, bu harekete ka-tılarak isim yapma şansı bulabileceğini düşündü. Der bereits mit 28 Jahren verstorbene italienische Architekt Antonio Sant'Elia (1888-1916) ist heute vor allem für sein Manifest L’Architecture futuriste (1914) bekannt sowie für seine dem Thema La CittàNuova gewidmete Zeichnungsserie. Il rendering della Città Nuova di Sant’Elia Archiobjects • Architecture. Comme le souligne bien Portoghesi11, c’est une métaphore linguistique qui sous-tend cette phase de transition de la réflexion de Sant’Elia : les Eléments architectoniques des années 1913 et 1914 peuvent dès lors être lus comme étant le creuset de la construction d’un « schème discursif » autonome de la ville moderne, articulé au travers d’une série d’éléments formels récurrents – la pyramide, la tour, le L renversé, le contrefort – et d’un ensemble de règles de composition – symétrie, répétition modulaire, obliquité, superposition (ill. 3). Gli studi che, ad un secolo di distanza, rendono famoso Antonio Sant’Elia sono però quelli relativi alla città nuova. Contexte. On the left, the entrance is shrunk behind the two pyramidal towers forming a contrast that emphasizes their scale, this is further enhanced by the addition of the sculptural elements at the pinnacles of the building. Es existieren daneben aber noch um die dreihundert weitgehend unbekannte Zeichnungen. The frontage is crowned by a central dome and two smaller domes mark and accentuate the ends of the structure. 9 Banham Reyner, « Poetica di Sant’Elia e ideologia futurista », The architectural Review, Londres, mai 1955 ; Theory and Design in the First Machine Age, Londres, Architectural Press, 1960. Ainsi, ses deux premiers projets publiés – le projet d’un pavillon moderne présenté en 1908 à un concours de la coopérative Milanino et les croquis pour une maison parus en janvier 1909 dans la revue La Casa – attestent d’une épuration visuelle progressive par rapport aux premières copies de détails décoratifs de 1907, mais aussi d’une inspiration visuelle directe aux modèles de la Wagnerschule et à l’œuvre d’Olbrich, que Sant’Elia connaissait grâce au volume Die Wagnerschule 1902 (Vienne, 1903). Each floor has a rounded balcony or dome leading up towards the top of the building. 11 Portoghesi Paolo, « Il linguaggio di Sant’Elia », Controspazio, IV, n. 4-5, Milan, avril-mai 1971, p. 30. Sa thèse porte comme titre : Quelque chose à déclarer ? Sant’Elia uczęszczał do technikum budowlanego w Como, a następnie do Accademia di Brera w Mediolanie i Accademia di Belle Arti (Akademii Sztuk Pięknych) w Bolonii. In this particular image, there are large statues adorning the building and these give the name to the design which translates as "pillars supporting equestrian statues". Città Nuova “New City” • Sant’Elia proposed a vision of a Modern city that took the form of a “gigantic machine.” Central to his Citta Nuova concept is the electrifying dynamism championed by his futurist contemporaries. 12 Sant’Elia Antonio, Manifeste de l’architecture futuriste, Milan, 11 juillet 1914, dans Lista Giovanni, Futurisme. All Rights Reserved. In the apartment wings, he brings the vertical . Vision. 36-40. Antonio Sant'Elia, Citta nuova Nel corso del XX secolo l'attenzione degli architetti per la creazione di nuovi spazi urbani crebbe ulteriormente, in corrispondenza all'enorme sviluppo delle metropoli. Der Beitrag versucht die Zusammenhänge der von Sant'Elia unternommenen Forschungen hervorzuheben sowie seine Arbeiten in den zeitgenössischen kulturellen Kontext Italiens einzuordnen, indem es die Projekte der, vor dem Hintergrund seiner Architektenausbildung untersucht. Il est toutefois l’auteur d’environ 300 dessins qui restent encore méconnus. Le dessin d'architecture : œuvre/outil des architectes ? Viviana Birolli, « Antonio Sant’Elia et La Città Nuova : représenter la ville moderne », Livraisons de l'histoire de l'architecture [En ligne], 32 | 2016, mis en ligne le 31 décembre 2018, consulté le 18 janvier 2021. İçinde La Città Nuova (Yeni Şehir) adını verdiği geleceğin şeh- So-nunda, 20 Mayıs 1914’te Milano’da yapılan Nuove Tendenze sergisinde ilk çıkışını yapmış oldu. L'arte è emozione: Antonio Sant’Elia La città nuova Paola Montonati Edito come parte integrante del Manifesto dell’Architettura Futurista , che fu pubblicato nell’agosto del 1914, questo disegno è una perfetta sintesi del concetto di architettura e l’idea di città di quel grande movimento artistico che fu in Italia il Futurismo. The sketches, however, go further than simply suggesting a new aesthetic, in them Sant'Elia highlighted his ideas about urban planning and the importance of technology. Content compiled and written by Marley Treloar, Edited and revised, with Summary and Accomplishments added by Kate Stephenson. C’est précisément dans les vides entre ces dessins s’efforçant de traduire dans un seul geste l’image et son sens20, que les projets de La Città Nuova prennent toute leur valeur discursive d’utopie en tant que « résolution historique d’une contradiction [et] synthèse dialectique des contraires »21. Sant’Elia envisioned each appartment as well-ventilated and well-lit. 4Une reconsidération de l’ensemble de la production de Sant’Elia, à l’aune de son trajet créatif mais aussi du contexte culturel et architectural dans lequel il opérait, peut permettre de redonner une unité à son parcours et une profondeur historique au geste utopique de son manifeste. 14 Boccioni Umberto, Architettura futurista. 8 Zevi Bruno, « Sant’Elia non era futurista », L’espresso, II, n. 36, Rome, septembre 1956 ; « I disegni smentiscono il manifesto futurista », L’Espresso, II, n. 44, Rome, octobre 1956. Pinacoteca Civica Gallery. Antonio Sant’Elia nace en Como en 1888, y desde su infancia desarrolla una predisposición natural hacia la arquitectura y el diseño, además del deporte. 30 kwietnia 1888 w Como, zm. ©2021 The Art Story Foundation. The competition was ultimately won by architect Ulisse Stacchini. circulation outside of the building to create more space for the apartments. Puisque le mode d’existence de cet homme voué au progrès est le dynamisme, sa ville ne pourra qu’être une gigantesque infrastructure de transports définie par des ponts, des ascenseurs, des gares et des voies routières auxquelles les perspectives en biais et l’usage expressif des lignes et de la couleur assurent une valeur symbolique inédite (ill. 8). Como's Civic Museum. Movement In Architecture Architecture Drawings Futuristic Architecture Contemporary Architecture Architecture Design Antonio Sant Elia Italian Futurism Theatrical Scenery City Drawing. Elle est par ailleurs commissaire d’exposition et journaliste. 7Vingt ans plus tard, en 1956, l’architecte Bernasconi redécouvre6 le texte du Messaggio rédigé par Sant’Elia deux mois avant le lancement de son manifeste et son adhésion au futurisme : les analogies et les différences entre ces deux textes se posent alors à l’origine d’une polémique sur le caractère autographe du manifeste. In the apartment wings, he brings the vertical . Besondere Aufmerksamkeit wird dabei verschiedenen Quellen gewidmet, aus denen sich die Vorstellungswelt Sant'Elias speiste, von zeitgenössischer Architektur bis hin zum Futurismus, sowie seinem Werk der Dynamismes architectoniques aus dem Jahr 1913, dessen abstrakter Charakter möglicherweise auf eine formale Herkunft der in der CittàNuova verwirklichten Syntax schließen lässt. Each level is set back to create . The work was a series of 40 drawings, under the same title, which showcased his innovative ideas that glorified modernism and technology. For … Outra figura importante no movimento foi o arquiteto Antonio Sant ’ Elia, revue dirigée par Somenzi. Quelli relativi alla Città Nuova alors que la révolution industrielle était commencée depuis peu 1915-1921, Bologne il... Top of the tracks the level of the group each appartment as well-ventilated and well-lit the towers are accentuated the! 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