By Aurora Cuito
Antonio Sant’Elia (Como 1888-Monfalcone, 1916), a amazing Italian futurist architect was once, specially after his early demise, a major effect at the evolution of contemporary structure. He studied in Milan and Bologna. He undertook few commissions and people that have been accomplished have been both later demolished or remodeled. His resourceful drawings for destiny towns have been displayed in 1914. He wrote theoretical essays: Messagio and Manifesto dell’architettura futurista. In his tasks the effect of the Vienna Secession, specially that of Otto Wagner, could be discerned, in addition to the effect of the yank skyscraper. His most crucial works have been the Villa Elisi (1912), and his undertaking for the hot urban in 1914 (la Citta Nuova). He volunteered for the military within the First international struggle and died within the conflict of Monfalcone.(Альбом архитектурной графики итальянского Мастера модерна и футуризма Антонио Сант-Элии). PDF:------
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Additional info for Antonio SantElia
10 In this chapter we consider six approaches to the organization of the past of architectural history: style and period, biography, geography and culture, type, technique, and theme and analogy. An architectural historian would not tend to follow one of these modes exclusively. As such, these headings are much less a methodological map of the field of architectural history than a limited survey of historiographical approaches, where one is often tempered through its combination with others. 11 For the historian of art and architecture, ‘works .
It pursued many of the implications for architecture of its important precursor, Alberti’s De pictura (1435), a founding theory of painting. In writing on perspective and drawing, Alberti distinguished between the world of bricks and mortar and the intellectual domain of the artistic project, conceived (and executed) on paper by approximating the world through mathematical relationships and drawing. 7 As a humanist adept in poetry, philosophy, diplomacy and the law, Alberti addressed the rules of classical architecture as he imagined Cicero might have done had he possessed Vitruvius’ technical knowledge.
He would show two slides at once in order to describe and explain the differences between one building and another, and hence between one stylistic category and another. Until the advent of digital projection, the paired display of slides was a common tool for teaching the history of art and architecture. It was initially bound to the formalist, rather than iconological, teaching of architectural history, but was later widely adopted by many teachers who paid little heed to its original methodological connotations.