In Edifici monumentali con sculture (monumental buildings with sculptures) we see a vast increase in size from Sant'Elia's previous work. 130, 131. [Internet]. On the left, the entrance is shrunk behind the two pyramidal towers forming a contrast that emphasizes their scale, this is further enhanced by the addition of the sculptural elements at the pinnacles of the building. The competition was ultimately won by architect Ulisse Stacchini. Before the results of the remodelling we see today, it stood as a country villa with tympanum decorated by frescoes in the style of Klimt, carried out in collaboration with his sculptor friend Girolamo Fontana. p. 81; Cerviere 2004, pp. The Villa, while small in size, features the asymmetrical, geometric designs seen in much of Sant'Elia's work. Per procedere, è necessario prestare il consenso alla memorizzazione ed all’accesso ai cookie esistenti sul dispositivo dell'utente. This commitment to incorporating technology is clear throughout the drawings. Sant'Elia's La Citta Nuova was shown publicly at the exhibition of the Nuove Tendenze in 1914. Sant'Elia incorporated large curved doorways across the design to allow an easy flow of people entering and exiting the building. Questo sito web utilizza i cookie per consentire una migliore navigazione agli utenti. Studi per una villa priva di decorazioni (study for a villa without decoration) is a later version of a design for a detached house that he first submitted to La Casa magazine in 1908. He explores the idea of circular design in both the rounded exterior, but also in terms of the two towers which mirror each other exactly. n. 13, 14; Miotto Muret 1976, p. 23; Nicoletti 1978, p. 369; De Seta 1981, p. 37; Valeriani 1981, p. 51, fig. The design incorporates large panels of glass and steel supported within a stone structure. The sketches, however, go further than simply suggesting a new aesthetic, in them Sant'Elia highlighted his ideas about urban planning and the importance of technology. No other buildings designed by Sant'Elia were completed during his lifetime so this small villa gave some insight into how his drawings could be translated into reality and produce an aesthetically novel, but also functional building. Questo sito web utilizza i cookie per consentire una migliore navigazione agli utenti. The frontage also needed to fufil a practical function conveying passengers and lugagge from street level upwards to the level of the tracks. In 1912 Sant'Elia collaborated with the architect Arrigo Cantoni to enter a competition to design the faÃ§ade of the New Central Station building in Milan. 164; Caramel-Longatti 1987, p. 144, n. 33; Bossaglia 1988, p. 205; Caramel-Longatti 1988, p. 108, n. 33; Gavinelli 1988, p. 48; Vinca Masini 1989, p. 374, n. 1018; Caramel-Longatti 1991, pp. The purpose of the designs are unclear and these could be facades of interconnected homes, a railway station, or an industrial building, demonstrating a vision of modernity where the domestic and industrial coexist in close proximity. Villa Elisi was designed and built as a holiday home for the industrialist Romeo Longatti. Villa Elisi (1912), in the area known as Le Colme di San Maurizio above Brunate, is the sole building designed and built by Antonio Sant’Elia. Visitors may enter up to 15 minutes before closing time. Although innovative and hugely different from the Italian vernacular of the period, it is probable that Sant'Elia drew some inspiration for the design from other architects, particularly the shapes of Adolf Loos. Antonio Sant'Elia. The design can be seen as transistional, bringing together Art Nouveau details with bold new elements that are preemptive of interwar styles. This confident use of new materials shows Sant'Elia's desire to include new ideas and technologies into his work and it was this forward-thinking that, later, attracted the Futurists to Sant'Elia. Villa Elisi Villa Elisi (1912), in località Le Colme di San Maurizio sopra Brunate, è l’unico edificio progettato e realizzato da Antonio Sant’Elia. Tecnica: Content compiled and written by Marley Treloar, Edited and revised, with Summary and Accomplishments added by Kate Stephenson. riproduzioni fotografiche del 1960. These were created in conjunction with Sant'Elia's friend Girolamo Fontana and this is a clear example of the influence of Austrian Secession styles on the architect. This focus on access and circulation of vehicles and people leads to a de-emphasis on the individuality and autonomy of buildings within his designs and it becomes difficult to tell where one building starts and another one ends. Antonio Sant’Elia ’s only two creations are Villa Elisi in San Maurizio (near Como) and a monument to the fallen in Como based on one of his designs from … This hints at Sant'Elia's utopian idealism and his desire to bring art and functionally closer together; the pillars of the statues becoming buildings in their own right. The design shows the influence of Otto Wagner, a pioneering Art Nouveau architect, on Sant'Elia, with the massive stone pillars and eagle decoration drawn from Wagner's Stadtbahn scheme in Vienna (1899). All Rights Reserved |. But to raise the new-built structure on a sane plan, gleaning every benefit of science and technology". The geometric features also become more prominent. 68, 69, figg. The project also represented an opportunity for Sant'Elia to prove his worth in a range of roles, as he acted as site manager for the build. Visitors may enter up to 15 minutes before closing time. The front has round stone features that wrap around the walls and the building was decorated with frescoes in the style of Gustav Klimt. Bibliografia: Caramel-Longatti 1962, pp. 33; Godoli 1983, pp. The division and stratification of transport systems reappears in Sant'Elia's later work and this may well be a prototype for these ideas. Villa Elisi was designed and built as a holiday home for the industrialist Romeo Longatti. In doing this, he garnered publicity for his work as well as getting constructive feedback on it. Per informazioni dettagliate sull’impiego dei cookie in questo sito web invitiamo a cliccare su "Maggiori informazioni". 121-123, n. e figg. 297-298, fig. Villa Elisi Villa Elisi (1912), in the area known as Le Colme di San Maurizio above Brunate, is the sole building designed and built by Antonio Sant’Elia. Commissioned by the industrialist Romeo Longatti of Como, it was built on land that had been purchased in December 1911. The front has round stone features that wrap around the walls and the building was decorated with frescoes in the style of Gustav Klimt. Each floor has a rounded balcony or dome leading up towards the top of the building. This sketch demonstrates a part of this journey showing an increasing simplification of structural elements and the removal of unnecessary decoration. Some of the sculptural elements also seem to have been inspired by Wagner's Franz-Josefstadtmuseum (1902). Many of Sant'Elia's early designs were made for competitions or submitted to magazines. 33 a/b/c/d; Brunetti 1998, fig. The Villa, while small in size, features the asymmetrical, geometric designs seen in much of Sant'Elia's work. The beginning of his distinctive Modernist architectural style is also present; geometric grids of windows, archways, curves and stair-like structures all became reoccurring features in his later works including Villa Elisi. Villa Elisi was designed and built as a holiday home for the industrialist Romeo Longatti. Intended to act as a symbol of a new age, their appearance was bold, unadorned and geometric and he made use of new materials in the designs. Tall pillars and rectagular grids of windows line the majority of the building, with areas of sculptural decoration drawing the eye towards the central dome. Per informazioni dettagliate sull’impiego dei cookie in questo sito web invitiamo a cliccare su "Maggiori informazioni". The Villa, while small in size, features the asymmetrical, geometric designs seen in much of Sant'Elia's work. ©2020 The Art Story Foundation. The Villa still stands but the painted decoration was removed during modern renovations. The design of this holiday home was a variation on the small modern villa of 1910 produced for the “Milanino” cooperative competition. It was the display of these images, however, that convinced Marinetti to court Sant'Elia and encourage him to officially join the group, expanding their remit to include architecture and producing the manifesto later the same year. External elevators are attached to the skyscrapers, interconnecting walkways and tunnels run, like veins, through the buildings and transport is organized into three levels: pedestrian overpasses, roads for cars, and tracks for tramways. In this particular image, there are large statues adorning the building and these give the name to the design which translates as "pillars supporting equestrian statues". The height of the towers are accentuated by the design of the rest of the building. These designs suggests a towering monument to growth and new technologies but they are also practical - the spaces between the towers give room for pedestrian access. Here, he shows his developing drawing skills, presenting the villa from different angles. Titolo: Villa Elisi: Tecnica: riproduzioni fotografiche del 1960: Datazione: documentata al 1912 Tuesday to Saturday 9.30 a.m. - 12.30 p.m. and 2 p.m. to 5 p.m. Wednesdays 9.30- 5 p.m. (from 15th September to 15th July – closing from 24th December to 7th January). Unlike some of Sant'Elia's other work, this design shows no hint of historicism and as the title suggests the villa is unadorned. Tuesday to Saturday 9.30 a.m. - 12.30 p.m. and 2 p.m. to 5 p.m. Wednesdays 9.30- 5 p.m. (from 15th September to 15th July – closing from 24th December to 7th January). This can be seen in the left sketch, in which a walkway is visible, disappearing into the distance. The frontage is crowned by a central dome and two smaller domes mark and accentuate the ends of the structure. Per procedere, è necessario prestare il consenso alla memorizzazione ed all’accesso ai cookie esistenti sul dispositivo dell'utente. It is believed that this design is Sant'Elia's work, although there has been some suggestion that Cantoni may have been involved at a conceptual level. Taking these ideas, he looked forward expanding them to develop a completely unique vision of modernity which culminated in his designs for La Citta Nuovo. The work was a series of 40 drawings, under the same title, which showcased his innovative ideas that glorified modernism and technology. Sant'Elia viewed his cities as "gigantic machines" and this concept of mechanical dynamism aligned closely with that of the Futurists indicating that prior to becoming involved with the movement, Sant'Elia was aware of their work and it is probable that there was an exchange of ideas between the two. It represented an opportunity for Sant’Elia to prove his worth as an architect and as mason and site manager as he himself had to oversee the use of the decorative elements and the difficult structural problems that would emerge, in view particularly of the house’s location on steeply sloping ground. The front has round stone features that wrap around the walls and the building was decorated with frescoes in the style of Gustav Klimt. Commissioned by the industrialist Romeo Longatti of Como, it was built on land that had been purchased in December 1911. This design demonstrates how Sant'Elia approached multi-level buildings and shows his interest in incorporating curves and circles into his work. Working in Milan he would have witnessed first-hand new innovations in building materials and techniques, urban planning, and industry. On the right the windows mirror and draw attention to the larger part of the building in the background. "Antonio Sant'Elia Artist Overview and Analysis". 1913 marked a clear move away from Secessionist styles for Sant'Elia.
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