He drew up the plans, on commission, for the New headquarters of the Società dei Commessi [sales clerks’ society] of Como, which was not finally built. He obtained his construction industry technician’s diploma with marks of 160/200. At the end of that same year he worked with Italo Paternoster, who was both a friend and fellow student at Brera, on the plates relating to the International Competition for the new Cemetery of Monza, which would be announced in the February of 1912. In occasione del centenario della morte, ripercorriamo i capisaldi del suo pensiero che hanno reso la sua architettura dinamica e industrializzata. Como, piazza Medaglie d'Oro 1. He left behind almost no completed works of architecture and is primarily remembered for his bold sketches and influence on modern architecture. This same Milan architect paid great attention to any new ideas coming from the other side of the Alps. His studies at the Accademia enabled him to gain his diploma as teacher of architectural design. De tekst is beschikbaar onder de licentie. In January 1909 he sent a design to the Milan magazine “La Casa”, which published it, for a villa unifamiliare or detached house of formally Secessionist inspiration that received partially positive comments from the magazine as well as some criticism. 1899 The Brera for its part however represented an essential meeting place for animated debate. Sant'Elìa, Antonio. Het enige door hem ontworpen gebouw van Sant'Elia is de Villa Elisi (1912) in San Maurizio bij Como. At the same time improvements were being made to the infrastructures both on the land and on the lake and new hotels were springing up and changing the appearance of the landscape. 1914 From 20th May to 10th June he exhibited with the Nuove Tendenze, New Trends, group which had been set up the previous February by Ulisse Arata, Decio Buffoni, Gustavo Macchi and Ugo Nebbia at the headquarters of the Famiglia Artistica Milanese at via Agnello 8 in Milan. The ceremony was organised by the local authorities and was attended by members of the Fasci of Combat and some socialists, but it was the futurist Russolo who made the funeral oration. The exhibition catalogue has a brief passage written by Sant’Elia which emerged with additions and some reworking by Marinetti and his companions in the Manifesto of futurist architecture, distributed in the July in the form of a leaflet printed by Taveggia of Milan and subsequently published in the magazine «Lacerba» on 1st August. In 1912 he began work in Milan, where he became part of the futurist movement in architecture. Sant'Elia, Antonio — ▪ Italian architect born April 30, 1888, Como, Italy died Oct. 10, 1916, near Monfalcone       Italian architect notable for his visionary drawings of the city of the future. Antonio Sant'Elia (1888-1916) was a highly influential architect, almost none of whose designs were ever built. 1908 The plans and designs of the architects Gaetano Moretti, Giuseppe Sommaruga, Ulisse Arata, Angelo Cattaneo and Ernesto Pirovano found inspiration in the Austrian models for a middle way in architecture between the new and the traditional, which language also met with the approval of the new entrepreneurial bourgeoisie that was at this time in the ascendant. Ses conceptions théoriques retiennent l’attention: dans le… …   Encyclopédie Universelle, Sant'Elia — Sant Elia,   Antonio, italienischer Architekt, * Como 30. By continuing to browse this site you agree to the use of cookies. Education and Early Training Short Biography Antonio Sant'Elia (30 April 1888 - 10 October 1916) was an Italian architect and a key member of the Futurist movement in architecture. He was born in 1888 in Como, Lombardy, and at age 19 became a draftsman. His fame rests on an early modernist/Futurist theoretical architecture project called La Città Nuova (The New City) carried out around 1914. An architectural visionary, Antonio Sant'Elia is best known for his futuristic designs for a modern city, La Citta Nuovo (1913-14), that anticipated many contemporary technologies as well as pre-empting the styles of Art Deco. He was born in 1888 in Como, Lombardy, and at age 19 became a draftsman. En 1914 publicó el Manifiesto de la arquitectura futurista. He attended the courses on perspective, embellishment and architecture and went to the lectures held by Giuseppe Mentessi in geometry, Angelo Cattaneo in perspective and scenography, Enrico Butti in sculpture, Cesare Tallone in painting and Gaetano Moretti in architecture. Em agosto de 1914, Antonio teria publicado o Manifesto da Arquitetura Futurista, apesar de ainda se debater se ele foi mesmo seu autor. 1921 - Architetto (n. Como 1888 - m. in guerra, a Monfalcone, 1916). On 23rd October the coffin carrying his remains were moved to the Cimitero Maggiore cemetery of Como to one of the cells set aside for Benefactors, the Meritorious and Martyrs of the Patria”. 30 April 1880 Como, Italy d. 10 October 1916 Monfalcone, Italy [br] Italian architectural designer and town planner. On his return from the front Arrigo Finzi reopened the factor in Via Caminadella and restarted manufacturing without meeting the favour of customers. 4. A more technical education and the title of civil engineer or architect would have been available to him had he attended the Politecnico. Antonio Sant'Elia (Como, 30 april 1888 - nabij Monfalcone, 10 oktober 1916) was een Italiaans futuristisch architect. Scopre sin da bambino una naturale predisposizione all'architettura e al disegno, oltre che doti sportive, specie nel salto e nella corsa. His friends Gerolamo Fontana and Mario Chiattone were in possession of publications on Wagner and the Wagnerschule. https://nl.wikipedia.org/w/index.php?title=Antonio_Sant%27Elia&oldid=56245015, Wikipedia:Commonscat met lokaal zelfde link als op Wikidata, Creative Commons Naamsvermelding/Gelijk delen. - Taylor & Francis e-Librar. - Taylor & Francis e-Librar. Sant’Elia's drawings establish a monumental scale: towering, interconnected urban plinths that hum with energy. Antonio Sant'Elia, l'architetto più futurista fra i futuristi. [2][4][3][7], Suas obras também serviram de inspiração para os cenários futuristas de filmes clássicos de ficção científica, como Metrópolis e Blade Runner. [1][2][3], Sant’Elia deixou muitas obras incompletas e é especialmente lembrado por seus rascunhos e pela influência deixada na arquitetura moderna. As soon as 16th July, decorated with a silver medal, he went back to fight. Biografía …   Wikipedia Español, Antonio Sant'Elia — Antonio Sant’Elia, Zeichnung eines Hochhauses von La Citta Nuova Zentralbahnhof mit Flughafen von La Citta Nuova Antonio Sant’Elia (* 30. The obsequies, without the presence of his body, were celebrated in Como on 12th November 1916. In the short time before the outbreak of the First World War, Sant'Elia began to create his designs for the city of the future; he was a talented draughtsman and made hundreds of imaginative drawings to illustrate his ideas. The Rome exhibition also put on its National Architecture Competition for the “modern house”. The plates by Sant’Elia presented a picture of surprising modernity and captivated the attention of the public. The room that he set up as studio and lodging was just a stone’s throw from the Electrical Power Station of Santa Radegonda. 1907 Autor de Manifiesto de la arquitectura futurista …   Enciclopedia Universal, Sant´Elia — Sant´Elia, Antonio …   Enciclopedia Universal, Antonio Sant'Elia — Saltar a navegación, búsqueda Antonio Sant Elia (Como, 1888 Monfalcone, 1916) fue un arquitecto y urbanista italiano. He exhibited the plates of the New City (The new city, Station for aeroplanes and trains, The new house, three Electrical power stations and five Architectural sketches) showing these alongside the works of Leonardo Dudreville, Mario Chiattone, Carlo Erba, Achille Funi, Giovanni Possamai, Adriana Bisi Fabbri, Marcello Nizzoli and Alma Fidora. At the end of the nineteenth century the city was going through a prosperous time with much development taking place in the textile and tourist industries. The questions of urban transformation and the renewal of the road system made necessary by the growth in traffic were new subjects of discussion that Sant’Elia embraced and addressed in competitions, in exhibitions and in congresses. This, among other things, set in motion for him some real reflection on the nature of his own personal architectural language, unbounded by the taste of commissioned orders, as he set about drawing up the first elements of his Città Nuova, the New City. O futurismo visava romper com a visão da arquitetura do passado, que segundo Antonio replicava antigos modelos, misturando estilos, para assim chamá-los de "arquitetura moderna". He was commemorated at a session of the city council of Como by the leader of the socialist group, the lawyer Angelo Noseda. 1888, ✝ (gefallen) bei Monfalcone 10. One reason why little was built was because he was killed during the Great War, age 28. Ele foi morto durante a Oitava Batalha do Isonzo, perto de Gorizia. Lance Day and Ian McNeil. Sant'Elia sneuvelde tijdens de Achtste Slag aan de Isonzo, nadat hij vrijwillig dienst had genomen in het Italiaanse leger. Download the Manifesto of futurist architecture Having left the Brera Academy in the October he took and passed the professional examinations as teacher of architectural design at the Fine Arts Academy of Bologna (with marks of 242/280), obtaining the highest mark for his design for the project the Façade with portal for the transept of a large metropolitan church. He executed some tables for the architecture firm of Arrigo Cantoni for the second stage of the Competition for the New Milan Railway Station. Antonio Sant'Elia was born in Como, Lombardy in 1888 to Christine Panzillo and Luigi Sant'Elia. The small villa had a tympanum, that no longer exists, and geometric decoration influence by the Vienna school whose culture had been spread by such Italian magazines as “L’Arte Decorativa ed Industriale” of Camillo Boito, “Emporium” and “L’Illustrazione italiana” as well as by foreign magazines. 1916; Architekt des Futurismus. Vários artistas e profissionais se alistaram, acreditando que o mundo deveria ser purificado através da guerra, de maneira a destruir o velho para abrir caminho para o futuro. [1][4] Sant’Elia, porém, não foi o único futurista que lutou e morreu na Primeira Guerra. "Ad ogni generazione a sua casa ". Antonio Sant’Elia lived the quintessential futurist life — short, violent and driven by an all-consuming desire to remake the world. He left behind almost no completed works of architecture and is primarily remembered for his bold sketches and influence on modern architecture. He rented a room in Milan at Via S. Raffaele, number 3, from the painter Carlo Prada. He joined up, together with other futurists such as Marinetti, Boccioni and Russolo with the Lombardy Volunteer Cyclists’ Battalion commanded by Captain Carlo Monticelli. There were two important International Exhibitions to celebrate the fiftieth year of the Kingdom of Italy, one in Rome dedicated to art and another in Turin celebrating industry. [1] As cidades, com a sua elevada densidade populacional, procuravam ordenamento consoante o seu crescimento. At the same firm he became friends with the designer and silversmith Arrigo Finzi who he met in 1909. Some Milan haunts, such as the downtown coffee bars Il Campari and Il Cova were also meeting places in which Sant’Elia met, among others, the painters Romolo Romani, Anselmo Bucci and Aroldo Bonzagni, the art critic and writer Mario Buggelli and the author Marco Ramperti. Antonio Sant'Elia (Como, 1888-en el frente, cerca de Montefalcone, 1916) Arquitecto italiano. [8], Residência com elevadores externos (1914), «L'Architettura Futurista: o manifesto de Antonio Sant'Elia», «100 Years after His Death, the Legacy of Futurist Architect Antonio Sant'Elia Lives On», «Antonio Sant'Elia - key member of the Futurist movement in architecture», «The Futurist world of architect Antonio Sant'Elia», «O arquiteto que inspirou as cidades futuristas de 'Metrópolis' e 'Blade Runner, https://pt.wikipedia.org/w/index.php?title=Antonio_Sant%27Elia&oldid=58923818, Pessoas da Primeira Guerra Mundial (Itália), Atribuição-CompartilhaIgual 3.0 Não Adaptada (CC BY-SA 3.0) da Creative Commons. Antonio Sant’Elia was born in Como on 30th April 1888, son of Luigi Sant’Elia, a barber in Como (1845-1914) and Cristina Panzillo (Capua 1848-Como 1922). Antonio Sant'Elia was an Italian architect and a key member of the Futurist movement in architecture. 1912 In that same year the Sempione Exhibition was held in Milan, which Sant’Elia would certainly have visited. Antonio Sant'Elia studeerde aan de technische school te Como. He lived in Corso Garibaldi, renting a room in a council house with Giovanni Possamai, a sculptor of his own age. 1916 De todos ellos, sólo llegó a construirse una casa en Como. The increase in population and the need for higher quality standards led to an at least partial introduction of mains drinking water, a sewage system, electric lighting, school buildings, charitable accommodation, the Monumental Cemetery and the Abattoir. He designed some kitchenware for him which was briefly in production from 1914 up to the time both departed for the war. In March he showed some designs at the group exhibition organised by the Associazione Lombarda Architetti [association of Lombardy architects] at Palazzo della Permanente managed by Giovanni Rocco, alongside the works of Raimondo D'Aronco, Giuseppe Sommaruga, Ranieri Arcaini, Ulisse Stacchini, Tancredi Venturini, Orsino Bongi, Angiolo D'Andrea, Cesare Mazzocchi, Giovanni Broglio and Marcello Piacentini. The Famiglia artistica of Milan and the City authorities conferred honours upon him and the Milan Polytechnic bestowed upon him a posthumous honorary degree. Antonio Sant’Elia lived the quintessential futurist life — short, violent and driven by an all-consuming desire to remake the world. Antonio Sant’Elia, (born April 30, 1888, Como, Italy—died Oct. 10, 1916, near Monfalcone), Italian architect notable for his visionary drawings of the city of the future. In November he enrolled with the higher architecture course at the Fine Arts Academy of Brera. The plans were admitted to the second stage of the competition and were finally awarded third place. Aliados a elevadores verticais, seriam as únicas vias de tráfego da cidade. April 1888 …   Deutsch Wikipedia, SANT’ELIA (A.) His father was a barber, and he had two siblings, a younger brother (Guido) and an older sister (Giuseppina), but little else is known of his childhood and early years. The design of the final plates was shared out between Sant’Elia (perspective views and cross sections), the architect Tancredi Motta (floor plans), and the painter Leonardo Dudreville (water colour perspective views). During his stay in Milan he experienced in first person the problems associated with the growth of the metropolis and became thoroughly cognisant of all the innovations in technology and hygiene that were being introduced by Milan’s administrative authorities. The event had an extraordinary emotional impact on the eleven-year-old Sant’Elia, especially the displays of the engineer Eugenio Linati with wood pavilions and a spectacular entrance through two imposing reproductions of Piles with interior lifts and a series of illuminated fountains. [2][6] Segundo Antonio, a principal função da cidade na era industrial era a de facilitar o movimento de maneira mais eficiente possível. On the occasion of the exhibition, the public gas lighting was partly replaced by an electrical grid and the first trams started running. In May he left Como again for the Carso as Second Lieutenant and was assigned to the 225th regiment of the Arezzo Brigade, in the 5th Armata. Nacionalista e patriota, Antonio se alistou no exército italiano quando seu país entrou na Primeira Guerra Mundial, em 1915. The popularity he achieved in Como resulted in his obtaining a number of commissions, including for the school for the Viganò district (which was never built), for the decoration of the façade and the boundaries to the Francesco Baracca school in via Brambilla, as well as for the decoration of the façade of a building in Via Cesare Cantù, where his father had run the barber’s shop. Op de eerste tentoonstelling van deze groep in 1914 toonde hij zijn ontwerpen voor een futuristische stad, zijn 'Citta Nuova'. 1906 He gained an honourable mention for his entry to the Competition for a small modern villa announced in 1908 by the Cooperative “Milanino”, which was proposing to build a garden city in the area between Cusano Milanino and Cinisello Balsamo. He attempted to propose his own responses by designing multi-family and multi-functional buildings to be located on the outskirts of the city. Aurora Cuito, Cristina Montes (eds.) Bij deze ontwerpen schreef hij de tekst 'Messagio' waarin hij verduidelijkt op welke wijze een stad in de toekomst geconstrueerd dient te worden.

antonio sant'elia biografia

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