At night, a lighting system highlighted its contours. 1938: Design of the "Mostra della Vittoria", Fiera di Padova. Ponti also offered to Domus readers detailed plans of a circular house called Il scarabeo sotto la foglia (1964– The beetle under a leaf). Thanks to his involvement, the Biennale underwent tremendous development: renamed the Triennial of Art and Modern Architecture in 1930 and relocated to Milan in 1933, it became a privileged place to observe innovation at the international level. La tappezzeria non è originale. Pónti, Giovanni (detto Giò Ponti, Giovanni). This theatricality was reinforced by the omnipresence of ceramics, whose uses he reinvented both indoors and outdoors. Arrivano la Domus Ioni, la Domus Fausta, la Iulia. 1978: Objects made from silver leaf in collaboration with Lino Sabattini. He fought in the Pontonier Corps with the rank of captain, from 1916 to 1918, receiving the Bronze Medal and the Italian Military Cross. Together with the Galfa Tower by Melchiorre Bega (1956–1959) and the Velasca Tower (1955–1961) of the BBPR Group, this skyscraper changed Milan's landscape. L'opera fu costruita intorno a una struttura centrale progettata da Nervi ed è il grattacielo in calcestruzzo armato più alto del mondo[senza fonte] (127,1 metri). 1930–1933: Textiles for Vittorio Ferrari, 1940: Paintings and objects made from enamel on copper in collaboration with, 1940–1959: furniture and interior design in partnership with, 1941–1947: Furniture decorated with enamel in collaboration with, 1942–1943: Film adaptation of the play Henry IV by. From 1953 to 1957, he built the Hotel della Città et de la Ville and the Centro Studi Fondazione Livio e Maria Garzanti, in Forlì (Italy), by the assignment of Aldo Garzanti, a famous Italian publisher. A similar process was used in 1978 to cover the facade of the Shui Hing department store in Singapore. With his new designs, he won the great prize for ceramics in 1925 at the International Exhibition of Modern Decorative and Industrial Arts in Paris. In the United States, he participated in the exhibition Italy at Work at the Brooklyn Museum in 1950, and created furniture for Singer & Sons, Altamira, and cutlery for Reed & Barton ("Diamond" flatware, 1958),[16] adapted for production by designer Robert H. Ramp). Together, they imagined in 1938 the Albergo nel bosco on the island of Capri, a hotel designed as a village of house-bedrooms, all unique and scattered in the landscape. In 1934 he was given the title of "Commander" of the Royal Order of Vasa in Stockholm. The sky and light became important protagonists of his architecture. Vaso ad orcino Gio Ponti, Stuoia 1923 1925 – La prima casa che progettò ed abitò Nel 1925 progettò la sua prima casa a Milano, una palazzina in via G. Randaccio n. 9, d’ispirazione neoclassica (cioè con presenza di nicchie, urne trabeazioni, timpani), che completò nel 1926. Assieme a Casabella, Domus rappresenterà il centro del dibattito culturale dell’architettura e del design italiani della seconda metà del Novecento[5]. 1952–1958: Italian cultural institute, Carlo Maurillo Lerici Foundation. He participated in the redevelopment and interior design of several Italian liners (Conte Grande et Conte Biancamano, 1949, Andrea Doria and Giulio Cesare, 1950, Oceania, 1951), showcases the know-how of his country. They were used for the interior decoration of the hotels Parco dei Principi in Sorrento (1960) and in Rome (19611964). 1964–1967: San Carlo Borromeo hospital church, via San Giusto. Ad esempio, tra Gio Ponti e José Antonio Coderch. In the field of interior design, Ponti multiplied inventions and favoured multifunctional solutions; In 1951, he developed an ideal hotel room for the Milan Triennial, in which he presented a "dashboard" bed headboard composed of shelves, some of which were mobile, and control buttons for electricity or radio. Gio Ponti si laureò in architettura presso l'allora Regio Istituto Tecnico Superiore (il futuro Politecnico di Milano) nel 1921, dopo aver sospeso gli studi durante la sua partecipazione alla prima guerra mondiale.Nello stesso anno si sposò con la nobile Giulia Vimercati, di antica famiglia brianzola, da cui ebbe quattro figli (Lisa, Giovanna, Letizia e Giulio). Catalogue essay for the Ponti Exhibition at the Triennale di Milano, May 6 – July 24, 2011 (Milan: Electa, 2011), 35–45. In the 1950s and in the 1960s, Ponti multiplied events in Italy and abroad. [16] From its fruitful collaboration with Cassina, the Leggera and Superleggera (superlight) chairs, the Distex, Round, Lotus and Mariposa chairs are now among the classics of Italian design. Starting from the traditional chair model, originating from the village of Chiavari in Liguria, Ponti eliminated all unnecessary weight and material and assimilated the shape as much as possible to the structure, in order to obtain a modern silhouette weighing only 1.7 kg. Anala e Armando Planchart Marco Romanelli, Licitra Ponti, Lisa (ed. All the materials and the furniture, chosen or designed by Ponti, were shipped from Italy. Ponti's parents were Enrico Ponti and Giovanna Rigone. 1936: Design of the universal exhibition of the catholic press, 1936–1942: Artistic direction and interior design of the Aula Magna, basilica and administrative building of. 1927–1930: creation of two furniture collections, Il Labirinto and Domus Nova. The armchair, on the other hand, was designed for one of the projects closest to Gio Ponti’s heart, the villa of the Planchart collectors in Caracas (1953-57). ), spanned two decades.[17]. Spacious, equipped and built with modern materials, they met the requirements of the new Milanese bourgeoisie. Voleva creare una sedia senza aggettivi e finì per inventare lei, la Superleggera, famosa proprio per quell’epiteto che riassume in cinque sillabe tutte attaccate la sua eccezionalità. The construction of the Rasini building (1933–1936) with its flat roofs marked the end of his partnership with Emilio Lancia around 1933. [4], Still in Milan, the 108-meter-high (354 ft) Littoria Tower (now Branca Tower), topped by a panoramic restaurant, was built in 1933 on the occasion of the Fifth Triennial of Decorative Arts, which inaugurated its new headquarters built by Giovanni Muzio. 1971: Competition for the Plateau Beaubourg, 1976: Tile floors for the headquarters of the. This small oval building was covered with white and green ceramic tiles, both inside and outside, including the roof. 1934–1940: Faculty of the Arts, Il Liviano. A mirror of the architectural and decorative arts trends, it introduced Italian readers to the modernist movement and creators such as Le Corbusier, Ludwig Mies van der Rohe, Jean-Michel Frank and Marcel Breuer. Il suo nome ha meritato l'iscrizione al Famedio del medesimo cimitero[13]. During his career, which spanned six decades, Ponti built more than a hundred buildings in Italy and in the rest of the world. Grattacielo Pirelli, Milano (1956-61), interni. With the church of San Francesco al Fopponino in Milan (1961–1964), he created his first façade with perforated hexagonal openings. La Chiesta di San Luca Evangelista, via Ampere 75 The Hotel Parco dei Principi in Sorrento was one of the first design hotel in Italy. Upholstery not original. Other collaborations were established, in particular with the Dal Monte brothers, who specialised in the production of papier-mâché objects, the ceramist Pietro Melandri, the porcelain manufacturer Richard Ginori and the Venini glass factory in Murano. Paradossi di Gio Ponti. 1957–1959: Carmelite convent, Bonmoschetto. After the death of Alberto Rosselli he continued to work with his longtime partner Antonio Fornaroli. 1964: Scarabeo sotto una foglia (Beetle under a leaf), villa Anguissola, Lido di Camaiore. 1944: Sets and costumes for the ballet Festa Romantica by Giuseppe Piccioli. Questa seduta ha fatto la storia del design. He also planned a film adaptation of Luigi Pirandello's Enrico IV for Louis Jouvet and Anton Giulio Bragaglia. ), Daniel Sherer, “Gio Ponti: The Architectonics of Design,” Catalogue Essay for, Daniel Sherer, “Gio Ponti in New York: Design, Architecture, and the Strategy of Synthesis,” in, This page was last edited on 11 December 2020, at 19:33. Ponti e passerelle dwg, attraversamenti pedonali, download gratuito, vasta scelta di file dwg per tutte le necessità del progettista [10] A few miles away, Ponti designed for Blanca Arreaza, the Diamantina (1954–1956), so-called because of the diamond-shaped tiles that partially cover its facade. artista verso gli artisti, in Gio Ponti e l’architettura sacra, Silvana Editoriale 2005. This period corresponded to a period of reflection in which Ponti devoted himself to writing and designing sets and costumes for theatre and opera, such as Igor Stravinsky's Pulcinella for the Triennial Theatre in 1940, or Christoph Willibald Gluck's Orfeo ed Euridice for the Milan Scala in 1947. L'attività di Ponti negli anni trenta si estese all'organizzazione della V Triennale di Milano (1933) e alla realizzazione di scene e costumi per il Teatro alla Scala[6]. Nel 1952 costituisce con l’architetto Alberto Rosselli lo studio Ponti-Fornaroli-Rosselli[10]. It was symbolized by the hexagonal shape of the diamond that Ponti used in many of his creations. Sanitari in ceramica per Ideal Standard, circa 1954. In 1941 Ponti he resigned as editor of Domus and set up Stile magazine, which he edited until 1947. Il suo riallacciarsi e utilizzare i valori del passato trovò sostenitori nel regime fascista, incline alla salvaguardia della "identità italiana" e al recupero degli ideali della "romanità",[senza fonte] che si espresse poi compiutamente in architettura con il neoclassicismo semplificato del Piacentini. Gio Ponti morì nel 1979 ed è sepolto nel Cimitero Monumentale di Milano. Thanks to his involvement in numerous exhibitions, Ponti established himself as a major player in the development of post-war design and the diffusion of "Made in Italy". His studies were interrupted by his military service during World War I. He created in particular a cylindrical lamp surrounded by crystal discs and mirrors and the famous Bilia Lamp. The 1970s began with the inauguration in 1970 of the Taranto Cathedral, a white rectangular building topped with a huge concrete facade perforated with openings. Struttura e gambe in legno imbottiture rivestite in velluto. Cassina)[15], realizzata partendo da un oggetto già esistente e di solito prodotto artigianalmente: la Sedia di Chiavari[16], migliorato in materiali e prestazioni. Fu progettata da un collettivo di architetti, guidato da Gio Ponti e Pier Luigi Nervi. L'archivio storico dell'opera di Gio Ponti: fotografie, disegni, lettere, documenti, testi critici e dati sulla sua opera nel campo dell'architettura, del design e dell'arte Ponti continued to create wall and floor coverings whose graphic rendering becomes a work of art in itself. 1952: Architecture studio Ponti-Fornaroli-Rosselli, via Dezza. Facing the building, Ponti designed a living square where the inhabitants could meet and rest on sculptures built for this purpose. Gio Ponti, progetto architettonico e di arredo Antonio Fornaroli, progetto delle strutture Mario De Giovanni, responsabile del cantiere Gustavo Ferrero Tomayo, presidente della Commissione di Lottizzazione di Caracas Graziano Gasperini, primo referente di Ponti a Caracas. Daniel Sherer, “Gio Ponti: The Architectonics of Design,” catalogue essay for exhibition, Gio Ponti: A Metaphysical World, Queens Museum of Art, curated by Brian Kish, Feb 15-May 20 2001, 1-6. The 1960s and 1970s were dominated by international architectural projects in places like Tehran, Islamabad and Hong Kong where Ponti developed new architectural solutions: the façades of his buildings became lighter and seemed to be detached like suspended screens. His daughter Lisa Licitra Ponti soon joined the editorial team. In 1930, he designed furniture and lighting for the glassmaker Fontana and became in 1933, together with Pietro Chiesa, the artistic director of the branch Fontana Arte.