Futurismo - Sant'Elia. N.65 - 1934

Rare original issue: Sant'Elia. Architecture - Furnishings - Building Materials. A biweekly. Year III, No. 65. Rome, April 15, 1934 - XII. Directors Architects Angiolo Mazzoni - Mino Somenzi. Filippo Tommaso Marinetti, first collaborator. 6 pages. In this issue: Today’s architecture in Russia by L. Gaillard. The marbles and stones of Italy by A. Mazzoni. For a colonial architecture by Mario Rispoli. The coefficient of civilization by Rogister. Polymaterial by Moutschen. Modern road architecture. The projects awarded for the Modena hospital. The need for social life by Le Corbusier. The flight over Vienna by Ambrosi. Fascist morality of cinema by Filippo Tommaso Marinetti. Some ideas on abstract painting by Marris. Scientific demonstration of futurism by Micheloni. Air expansion. Gottfried Benn’s speech at the banquet offered to S.E. Marinetti by German writers. Toschi’s painting by Gerardo Dottori. In good condition - normal central fold mark seen also the notable dimensions of the sheet - marginal yellowing.

Sant'Elia” was an important avant-garde futurist magazine founded and directed by Mino Somenzi in Rome in the early 1930s. The periodical took its name from the famous Futurist architect Antonio Sant’Elia (who died prematurely in 1916) and focused specifically on themes of architecture, furnishings, and building materials. Origins (July–September 1933): Initially, “Sant'Elia” did not start as an autonomous publication, but as a supplement occupying the last and the next-to-last pages of the newspaper “Futurismo” (also directed by Somenzi), from No. 45-46 to No. 53-54. The autonomous debut (October 1933): In issue 55 of “Futurismo” the birth of the independent magazine was announced. The first official issue as a “large illustrated biweekly” appeared on October 8, 1933. The magazine saw close collaboration between journalist Mino Somenzi and the Futurist architect and engineer Angiolo Mazzoni. Printed in large format (about 640×435 mm) with text in multiple colors and rich in avant-garde illustrations, it became the official organ of the new Futurist architectural movement.