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antonio sant'elia biografia

He was born in 1888 in Como, Lombardy, and at age 19 became a draftsman. Treinado como construtor e arquiteto, Antonio abriu um escritório em Milão em 1912, envolvendo-se pouco tempo depois com o movimento futurista, sendo o seu principal arquiteto e divulgador, influenciado pelas ideias de Otto Wagner e pelas cidades industriais dos Estados Unidos. Per procedere, è necessario prestare il consenso alla memorizzazione ed all’accesso ai cookie esistenti sul dispositivo dell'utente. At Monte Cucco the Army Corps succeeded in pushing back the Austro-Hungarians to Monte Zebio of Asiago, where on 6th July Sant’Elia was wounded to the head during an attack, standing out for his scorn for his personal safety and for the generous conduct towards his fellow soldiers in difficulty. 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. Sant'Elia sneuvelde tijdens de Achtste Slag aan de Isonzo, nadat hij vrijwillig dienst had genomen in het Italiaanse leger. Ele propôs ainda que a cidade existia em contínua construção. 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. Those studying with Sant’Elia were just as dissatisfied as he was with the Realism and Symbolism that were then in vogue, and included the likes of Umberto Boccioni, Carlo Carrà, Luigi Russolo, Gerolamo Fontana, Leonardo Dudreville, Achille Funi, Mario Chiattone, Carlo Erba and Giovanni Possamai whose company Sant’Elia kept before his encounter with Marinetti and Futurism. He designed and built, with his friend Gerolamo Fontana, Villa Elisi in the Le Colme a San Maurizio area above Brunate (Como) to the order of the industrialist Romeo Longatti. Biographical history of technology. Ele foi morto durante a Oitava Batalha do Isonzo, perto de Gorizia. OK. Sant'Elia studied in Milan and in Bologna. 1903 Antonio Sant'Elia - Biografia. The plans were admitted to the second stage of the competition and were finally awarded third place. In July of that year, during their stay at Gallarate, the futurists organised some benefit theatre shows for soldiers’ families at the Teatro di Condominio and Sant'Elia was assigned the task of coordinating the scenery. Antonio Sant’Elia lived the quintessential futurist life — short, violent and driven by an all-consuming desire to remake the world. 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. 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. 1921 Biografía. At the request of Filippo Tommaso Marinetti he designed the cover of the book Ponti sull'oceano [Bridges on the ocean], a collection of poems by Luciano Folgore. Graduado en Bolonia (1912), adquirió fama en la exposición Nuove Tendenze de Milán (1914), donde presentó su proyecto de Città nuova, al que acompañó con un Manifiesto de la arquitectura futurista (revista Lacerba, 1914). Sant'Elìa, Antonio. 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. In that same year the Sempione Exhibition was held in Milan, which Sant’Elia would certainly have visited. - Architetto (n. Como 1888 - m. in guerra, a Monfalcone, 1916). He designed some kitchenware for him which was briefly in production from 1914 up to the time both departed for the war. 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. 1888, ✝ (gefallen) bei Monfalcone 10. Estes são aspectos reveladores da crescente atividade industrial e do aparecimento de novas tecnologias e materiais, utilizados nos seus discursos e desenhos.[1][2][4]. Het enige door hem ontworpen gebouw van Sant'Elia is de Villa Elisi (1912) in San Maurizio bij Como. Antonio Sant'Elia (Como, 30 april 1888 - nabij Monfalcone, 10 oktober 1916) was een Italiaans futuristisch architect. Antonio Sant'Elia was an Italian architect and a key member of the Futurist movement in architecture. On 10th October 1916 during the eighth of the eleven battles of Isonzo he was mortally struck in the brow by a machinegun bullet as he led his platoon on an assault on Quota 77 at the foot of mount Hermada. Antonio Sant'Elia Antonio Sant'Elia Arquitecto italiano Nació el 30 de abril de 1888 en Como (Italia). In November he enrolled with the higher architecture course at the Fine Arts Academy of Brera. 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. [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,, Pessoas da Primeira Guerra Mundial (Itália), Atribuição-CompartilhaIgual 3.0 Não Adaptada (CC BY-SA 3.0) da Creative Commons. Cursó estudios en Milán y Bolonia. 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. 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. Os futuristas viam a si próprios como pioneiros, que estaria forjando a civilização do começo. In 1912 he began practicing architecture in Milan, where he… …   Universalium, SANT'ELIA, Antonio — (1888 1916)    See FUTURIST ARCHITECTURE …   Historical Dictionary of Architecture, Sant´Elia, Antonio — ► (1888 1916) Arquitecto italiano. 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. Biography of Antonio Sant'Elia Childhood. 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. 1915 [1] As cidades, com a sua elevada densidade populacional, procuravam ordenamento consoante o seu crescimento. 1914 Learn more, New York Times: Antonio Sant'Elia, by Paul Goldberger, Feb 21, 1986. Antonio Sant'Elia (1888-1916) was a highly influential architect, almost none of whose designs were ever built. ¿Desea reproducir alguna biografía en su web. Dopo il conseguimento, a Como, del diploma di capomastro edile (1905), seguì i corsi dell'Accademia di Brera (1909-11) e nel 1912 si laureò in architettura a Bologna. In deze tekst pleit hij ervoor de vormen van het verleden achterwege te laten en voor de moderne stedenbouw nieuwe vormen te ontwikkelen die zich baseren op de verworvenheden van de wetenschap. In 1912 he began work in Milan,… Como's Civic Museum. 1888 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). He was commemorated at a session of the city council of Como by the leader of the socialist group, the lawyer Angelo Noseda. His fame rests on an early modernist/Futurist theoretical architecture project called La Città Nuova (The New City) carried out around 1914. SUBJECT AREA: Architecture and building [br] b. The room that he set up as studio and lodging was just a stone’s throw from the Electrical Power Station of Santa Radegonda. Antonio Sant'Elia (Como, 30 april 1888 - nabij Monfalcone, 10 oktober 1916) was een Italiaans futuristisch architect. Biografia. 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”. 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. Fascinated by the possibilities of technology and by building in the USA, he was a visionary of future modern architecture. Sant’Elia himself acquired the Wagner School yearbook of 1902. Tel. On 14th October 1930 a funeral celebration was held at the Teatro Sociale theatre in Como. 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. He joined up, together with other futurists such as Marinetti, Boccioni and Russolo with the Lombardy Volunteer Cyclists’ Battalion commanded by Captain Carlo Monticelli. 4. — SANT’ELIA ANTONIO (1888 1916) L’apport de l’Italien Sant’Elia à l’architecture moderne est difficile à évaluer, car son expérience d’architecte n’a connu qu’un développement limité. Rayner Banham, 1981, "Antonio Sant'Elia", Biographical history of technology. 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. Em agosto de 1914, Antonio teria publicado o Manifesto da Arquitetura Futurista, apesar de ainda se debater se ele foi mesmo seu autor. Just as the ancients drew inspiration for their art from the elements of nature, we—who are materially and spiritually artificial—must find that inspiration in the elements of the utterly new mechanical world we have created. Antonio Sant'Elia (Como, 30 de abril de 1888 — Monfalcone, 10 de outubro de 1916) foi um arquiteto italiano, conhecido por ser adepto do futurismo, uma vanguarda artística europeia do início do século 20 que rejeitava o passado e exaltava a velocidade, as máquinas e o movimento, característicos das mudanças industriais e sociais do começo do século passado. The tomb was built by the contractors Donzelli in the cemetery of Monza, to the most economic version of those designed by Sant’Elia. Between August and September the battalion was moved to Peschiera, where it quartered at the Polveriera Ronchi. The joint Sant’Elia-Paternoster, design was dubbed “Crisantemo” [Chrysanthemum], and was classified among the finalists. "Ad ogni generazione a sua casa ". April 1888 …   Deutsch Wikipedia, SANT’ELIA (A.) Download the Manifesto of futurist architecture. He lived in Corso Garibaldi, renting a room in a council house with Giovanni Possamai, a sculptor of his own age. He worked with the Arrigo Cantoni architecture firm on the plans for the Competition for the New Headquarters of the savings bank the Cassa di Risparmio di Verona, bearing the name “Costruire” [to build or building]. 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. No Manifesto Futurista,[5] de Filippo Tommaso Marinetti, em 1909, o autor disse: Abriu um atelier em Milão 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. Scopre sin da bambino una naturale predisposizione all'architettura e al disegno, oltre che doti sportive, specie nel salto e nella corsa. [1][2][3], Sant’Elia deixou muitas obras incompletas e é especialmente lembrado por seus rascunhos e pela influência deixada na arquitetura moderna. Como, piazza Medaglie d'Oro 1. By continuing to browse this site you agree to the use of cookies. Continuing to use this site, you agree with this. At the end of October the Volunteer Cyclists were incorporated into the Alpini and undertook hard training at the end of which they took part in the conquest of Dosso Casina, which had been held by the Austrians. [br] Sant Elia studied in Milan and in Bologna. Sus proyectos inciden sobre la idea del dinamismo y se caracterizan por presentar medios de comunicación verticales y horizontales, con circulación a varios niveles, y edificios de gran altura con ascensores y pasillos exteriores. The Battalion was broken up on 30th November 1915 and in December Sant'Elia and his brothers in arms were given a period of leave. [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. 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. 1913 In July of that year he stood as a candidate on the list of the Revolutionary socialist party headed by Arturo Labriola for the Como local governmental elections. 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). 1908 In December he completed the design of the Gerardo Caprotti Funerary Monument which he had been working on since October of 1913. The Expo put on show the products of the textile industry and promoted the history and art heritage of Como. Ele não via prédios isolados na paisagem urbana, mas grandes construções de múltiplos níveis, com conurbações integradas, de maneira a dar vida à cidade. At the same firm he became friends with the designer and silversmith Arrigo Finzi who he met in 1909. 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. As with many of the futurist and expressionist architects at the turn of the century, most of Sant’Elia's works were ever completed. On his return from the front Arrigo Finzi reopened the factor in Via Caminadella and restarted manufacturing without meeting the favour of customers. In September of that year at the Broletto building in Como an exhibition was held of 95 of his drawings under the management of Michele Leskovic, known as Escodamè, which exhibition then transferred to Milan’s Galleria Pesaro and to Rome (to the Artists’ Circle of Via Margutta, then holding its first Quadriennale). Education and Early Training 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. Antonio Sant'Elia nasceu em 1888, em Como, na região da Lombardia.Treinado como construtor e arquiteto, Antonio abriu um escritório em Milão em 1912, envolvendo-se pouco tempo depois com o movimento futurista, sendo o seu principal arquiteto e divulgador, influenciado pelas ideias de Otto Wagner e pelas cidades industriais dos Estados Unidos. Bij deze ontwerpen schreef hij de tekst 'Messagio' waarin hij verduidelijkt op welke wijze een stad in de toekomst geconstrueerd dient te worden. He was born in 1888 in Como, Lombardy, and at age 19 became a draftsman. 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. Nacionalista e patriota, Antonio se alistou no exército italiano quando seu país entrou na Primeira Guerra Mundial, em 1915. Hij was mede betrokken bij de oprichting van de groep Nuove Tendenze. He left behind almost no completed works of architecture and is primarily remembered for his bold sketches and influence on modern architecture. A poet creates a church of speed and violence, Machines that scream: inventing Futurist music, Obelisk uses cookies to measure site usage, helping us understand our readers' interests and improve the site. 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". 1916; Architekt des Futurismus. This same Milan architect paid great attention to any new ideas coming from the other side of the Alps. He was particularly struck by the Austrian pavilion designed by Josef Hoffmann which exhibited paintings by Gustav Klimt and Franz Von Stuck, works of the sculptor Anton Hanak and reproductions of a number of designs by Otto Wagner and his pupils, Emil Hoppe, Marcel Kammerer and Otto Schöntal.

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