FUTURIST ARCHITECTURE

Basically An architecture form of the early 20th

century originated in Italy. The Futurist movement
existed as a distinct entity from 1909 1944. The
futurists believed in having a new identity of
architectural style comprising of the latest
technology. They disregarded neo- classical style
and all other styles which were unoriginal derivates
of history.
The Futurists were interested in anything new and anything
having to do with technology. In addition to their obsession with
new things they were equally interested in a complete disposal of
the past. This combination of interests drew the Futurists heavily
to the hustle and bustle of city life. As such it would make sense
that some of the Futurists had ideas for improving upon their
choice living area.

Futurism called for the establishment of a new artistic concept

based on speed, they understood as a fundamental feature
of modern life.
The members of the Futurist Movement in architecture had a utopian
project, supported by the New Town, where the measure would not be given
for the building, but the urban structure, relying on the new
architectural typologies, such as train stations and airports, power
electrical, tiered houses with elevators. They thought a new vertical
and mechanical world, which would be connected through networks
of iron and glass elevators

Futurist architecture movement members : Antonio SantElia, Cesar Pelli,

Santiago Calatrava, Archigram, Louis Armet, Welton Becket, Arthur Erickson, Future Systems, Zaha Hadid, John Lautner,
Oscar Niemeyer among others.

Antonio SantElia was the primary driving force behind Futurist architecture.
He wrote the official Manifesto of Futurist Architecture in 1914.
Characteristics of Futurist architecture:
1 .- Futuristic Architecture is the architecture of calculation, of reckless daring and simplicity, the architecture of
reinforced concrete, iron, glass, cardboard, textile fiber and all substitutes for wood, stone and brick, allowing maximum
flexibility and lightness.
2 .- The oblique lines and elliptic lines are dynamic, which by their very nature have an expressive power a thousand times
higher than the horizontal and perpendicular.
3 .- The decoration, as something superimposed on architecture is absurd, and only use the original provision and the raw
material or seen or violently colored depends the decorative value of Futurist architecture.
4 .- As the ancients drew inspiration for his art, the elements of nature, Futurist architecture must find that inspiration in the
elements of brand new mechanical world was created.
5 .- The distributed architecture and art forms of the building according to criteria is finished.

6 .- Architecture must understand the effort to harmonize with freedom and great audacity environment and man, that is,
make the world of things in a direct projection of the spirit world.
7 .- The fundamental characteristics of Futurist architecture will lapse and transience. The houses will last less than us.
Each generation should be made from their city. This constant renewal of the built environment contribute to the victory of
Futurism which already imposes the words freedom, plastic dynamism, music without quadrature and the art of noise, and
we fought relentlessly against the cowardly extension of the past

I COMBAT AND DESPISE:

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.

AND PROCLAIM:
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.e. synthesis and
expression;
That oblique and elliptic lines are dynamic, and by their very nature
possess an emotive power a thousand times stronger than
perpendiculars and horizontals, and that no integral, dynamic
architecture can exist that does not include these;
That decoration as an element superimposed on architecture is
absurd, and that the decorative value of Futurist architecture depends
solely on the use and original arrangement of raw or bare or violently
colored materials;
That, just as the ancients drew inspiration for their art from the
Villa Elisi, San Maurizio (Como)
elements of nature, wewho are materially and spiritually artificial
Sant'Elia's only surviving buiding
must find that inspiration in the elements of the utterly new mechanical Antonio Sant'Elia, 1912
world we have created, and of which architecture must be the most
beautiful expression, the most complete synthesis, the most efficacious
integration;
That architecture as the art of arranging forms according to pre-established criteria is finished;
That by the term architecture is meant the endeavor to harmonize the environment with Man with freedom and great
audacity, that is to transform the world of things into a direct projection of the world of the spirit;
From an architecture conceived in this way no formal or linear habit can grow, since the fundamental characteristics of
Futurist architecture will be its impermanence and transience. 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.

Avant-garde
The avant-garde (from French, "advance guard" or "vanguard", literally "fore-guard") are people or works that
areexperimental or innovative, particularly with respect to art, culture, and politics.

Avant-garde architecture is architecture which is innovative and radical. There have been a variety of architects and
movements whose work has been characterised in this way, especially Modernism. Other examples include Constructivism,
Neoplasticism (De Stijl) and Expressionism

Architects

Cedric Price
Daniel Libeskind
Frank Gehry
Frei Otto
Greg Lynn
Oscar Niemeyer
Peter Eisenman
Rem Koolhaas
Wolf D. Prix
"Collectivist House" a Gaud's 'Capricho' monument, Comillas. - An
1921 sketch by Nikolai example of modernist architecture where the
Ladovsky, leader of the decoration masterfully combines music and
Rationalist movement nature.
 Zaha Hadid

The turn of the 19th century brought new definitions of modernity. The aesthetic sensibility of the time was marked by a
different, freer attitude towards art and life. In 1888, Rubn Daro led the literary Modernism movement. In Spain, a group of
architects revolving around the figure of Antoni Gaud invented a new style of creating and designing buildings: this became
known as architectural Modernism, which flourished until the 1920s. Shortly after, a handful of artistic movements which
arose in the period between the two World Wars (1918-1939) shook the cultural and intellectual life of the time to its
foundations. Ultraism, Surrealism, Futurism and Dadaism brought vitality and radical renewal to the world of art, both in its
classical manifestations and in its newer incarnations such as film.