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page163from Nordic Architects Writes1973 Reima Pietilä Architecture and the World of Techno-culture And[1] proclaim: 1. That Futurist architecture of calculation, of audacious temerity and of simplicity; the architecture of reinforced concrete, of steel, glass, cardboard, textile fibre, and of all those substitutes for wood, stone and brick that enable use of obtain maximum elasticity and lightness; 2. That Futurist architecture is not because of this an arid combination of practicality and usefulness, but remains art, i.e. synthesis and expression; … 5. That, just as the ancients drew the inspiration for their art from the elements of nature, we – who are materially and spiritually artificial – must find this inspiration in the elements of the utterly new mechanical world we have created, and of which architecture must be the most beautiful expression, the most complete synthesis, the most efficacious integration; … 8. 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 transcience. Things will endure less than us. Every generation must build its own city. (Umbro Apollonio, Futurist Manifestos, London: Thames and Hudson, 1973, pp.171-2)
I have just read some passages from a manifesto on Futurist architecture written by the Italian architect Antonio Sant’Elia. This document, published on 11 July 1914, is like a cross section through our own contemporary architecture – like a survey of its very essence. From the traditional point of view of contemporary architecture, in order to understand the passage of its development, it has to be noted that sixty years ago it was already possible to see the background forces which created present-day urban reality. Young Sant’Elia, who was only 26, succeeded in mapping the potential of his own time almost in its entirety. Thus the ambitious goal of modern architecture remained the same for decades: the task of architecture is to embody the real nature of the age. The goal of Sant’Elia and of Futurist architecture as a whole was even bolder: when new principles and new prerequisites come into being, there has to be a reform of architecture, too – from the very foundations. In that way alone architecture will be what it should be: a uniform and logical synthesis. And the architecture of synthesis is incomparably more than just building.
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