), 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. [4] In New York City, he set up the Alitalia airline agency (1958) on Fifth Avenue and was entrusted with the construction of the 250-seat auditorium of the Time-Life building (1959). It was also in the mid 1960s that he befriended art critic Pierre Restany, who became a regular contributor to the Domus magazine. Il Centro Studi e Archivio della Comunicazione di Parma conserva un Fondo dedicato a Gio Ponti, consistente in 16.512 schizzi e disegni, 73 plastici e maquettes. 1957–1959: Carmelite convent, Bonmoschetto. 1970: Apta furniture for Walter Ponti, San Biagio. [7] From 1943, due to the Second World War, his activity as an architect slowed down. 1933–1936: Rasini building, bastioni di Porta Venezia. Casa Ponti Milano (MI) Indirizzo: Via Giuseppe Dezza 49 - Milano (MI) (). 1955–1960: San Luca Evangelista church, via Vallazze. Gio Ponti: L'Infinito Blu fatto di disegni e colori che racchiusero nel 1960 e racchiudono ancora oggi l’essenza del magico scenario di Sorrento dove il cielo e il mare, in perfetto equilibrio, creano un’armonia senza pari. From a simple participant, he became a member of the steering committee of the Monza Biennials in 1927, where he advocated for a closer bond between crafts and industry. He also married Giulia Vimercati in 1921; they had four children (Lisa, Giovanna, Letizia, and Giulio) and eight grandchildren. Anala e Armando Planchart Wood structure and legs and velvet upholstery. Pónti, Giovanni (detto Giò Ponti, Giovanni). Maurizio Boriani, Corinna Morandi, Augusto Rossari. This theatricality was reinforced by the omnipresence of ceramics, whose uses he reinvented both indoors and outdoors. See more ideas about Chiavari chairs, Chiavari, Chair. 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. In 1964, he organised a series of exhibitions in the Ideal Standard showroom in Milan, named "Espressioni", featuring a generation of talents such as Ettore Sottsass, Bruno Munari, Achille Castiglioni, Nanda Vigo, Enzo Mari or the artists Lucio Fontana and Michelangelo Pistoletto. Upholstery not original. He also submitted in 1971 a project for the future Centre Georges-Pompidou in Paris by proposing to model an axis in the capital linking the Baltard pavilions in les Halles pavilions to the future modern art museum thanks to an art "garden". Committenza. Finally, he obtained an honorary doctorate from the London Royal College of Art. 1946: Objects in papier-mâché in collaboration with Enrico and Gaetano Dal Monte. [8] Construction continued in Milan. 1952: Architecture studio Ponti-Fornaroli-Rosselli, via Dezza. Quest'ultimo, a caratteri fortemente personali, risente nei particolari architettonici, di ricercata eleganza, della vocazione di designer del progettista. His daughter Lisa Licitra Ponti soon joined the editorial team. 1961–1964: San Francesco al Fopponino church, via Paolo Giovio. 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. Ricordiamo Ponti anche per il progetto della seduta "Superleggera" del 1955 (prod. In 1934 he was given the title of "Commander" of the Royal Order of Vasa in Stockholm. This fruitful collaboration, during which they designed furniture and many interiors where ornament and fantasy prevailed (Palazzo del Bo in Padua – 1940, Dulcioria pastry shop in Milan–1949, Sanremo casino – 1950, the liners Conte Grande – 1949 and Andrea Doria – 1950, etc. L. L. Ponti, Gio Ponti: l'opera, Leonardo Editore, Milan 1990 G. Arditi e C. Serrato, Giò Ponti: venti cristalli di architettura, Il Cardo, Venice 1994 Fabio Ramella e Gio Ponti… 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). He then applied this solution to domestic spaces and offices, with "organised walls". ANAC (Associazione Nazionale Amici della Ceramica)Varese, ottobre 2012. At night, a lighting system highlighted its contours. ... con strutture e tecnologie di cui molte volte non abbiamo bisogno e che vanno contro l’equilibrio ambientale e la bellezza del nostro paesaggio naturale». Altezza cm 106 larghezza 185 profondità 85. He designed a considerable number of decorative art and design objects as well as furniture. L'edificio appare come una slanciata e armoniosa lastra di cristallo[20], che taglia lo spazio architettonico del cielo, disegnata su un equilibrato curtain wall e i cui lati lunghi si restringono in quasi due linee verticali. Gio Ponti ha disegnato moltissimi oggetti nei più svariati campi, dalle scenografie teatrali, alle lampade, alle sedie, agli oggetti da cucina, agli interni di transatlantici[14]. 1953: Italian-Brazilian-Centre, Predio d'Italia. 1945: Furniture for Saffa, "La casa entro l'armadio" (the house in the wardrobe), 1945: Sets and costumes for the ballet Mondo Tondo by. Francesco Vezzoli. [16] It was also in 1940 that he began working with the decorator and designer Piero Fornasetti. 1934–1940: Faculty of the Arts, Il Liviano. Ponti graduated with a degree in architecture in 1921 from the Politecnico di Milano University. Filippo de Pieri, Bruno Bonomo, Gaia Caramellino, Federico Zanfi, Fondo Gio Ponti presso CSAC Centro Studi e Archivio della Comunicazione, Rai Teche, Incontri: un'ora con Gio Ponti, 1976, Grattaceli a Milano_Intervista a Gio Ponti, Gio Ponti 'Lezioni di design' condotto da U Gregoretti Rai TV, Esposizione internazionale di arti decorative e industriali moderne, Centro Studi e Archivio della Comunicazione, Chiesa di San Francesco d'Assisi al Fopponino, http://www.spaziodi.it/magazine/n0704/vdb.asp?tag=CERAMICA&id=2297, http://www.newthingsdesign.it/it/tag-prodotto/gio-ponti/, http://venividivici.us/it/design/gio-ponti-artista-eclettico, http://ricerca.repubblica.it/repubblica/archivio/repubblica/2002/10/23/gio-ponti-sette-anni-con-stile.html, http://samha207.unipr.it/samirafe/loadcard.do?id_card=22380&force=1, http://www.gioponti.org/it/archivio/scheda-dell-opera/dd_161_5998/interni-del-transatlantico-conte-biancamano-gruppo-finmare-italia, http://www.cassina.com/it/collezione/sedie-e-poltroncine/699, http://amatestanze.com/la-sedia-di-chiavari/, http://www.gioponti.org/it/biografia-e-ritratti/biografia, http://www.gioponti.org/it/archivio/anni-cinquanta, http://www.gioponti.org/it/archivio/scheda-dell-opera/dd_161_6102/grattacielo-pirelli-in-piazza-duca-daosta, Tomba della famiglia Borletti dell'arch. ... su disegno di Armellino&Poggio e la scelta delle posate di Gio Ponti… 1951: Interior design of the ocean liner Oceania for Lloyd Triestino. Assieme a Casabella, Domus rappresenterà il centro del dibattito culturale dell’architettura e del design italiani della seconda metà del Novecento[5]. 1933–1938: Case tipiche (typical houses), via Letizia and via del Caravaggio. Daniel Sherer, “Gio Ponti in New York: Design, Architecture, and the Strategy of Synthesis,” in Espressioni di Gio Ponti, ed. Fu progettata da un collettivo di architetti, guidato da Gio Ponti e Pier Luigi Nervi. Le sue caratteristiche sono perfezione ed equilibrio tra solidità e leggerezza. With the construction of the Borletti funeral chapel in 1931, he started to adopt a modernist shift. 1934–1935: Domus Adele (Magnaghi and Bassanini building), viale Zugna. Ponti's parents were Enrico Ponti and Giovanna Rigone. AMARE L’ARCHITETTURA, a cura di Maristella Casciato e Fulvio Irace con Margherita Guccione, Salvatore Licitra, Francesca Zanella. Marco Romanelli, Licitra Ponti, Lisa (ed. Caratteri costruttivi:. He also planned a film adaptation of Luigi Pirandello's Enrico IV for Louis Jouvet and Anton Giulio Bragaglia. Questa pagina è stata modificata per l'ultima volta il 22 dic 2020 alle 13:33. 1938–1949: Columbus clinic, via Buonarotti. L’edificio della Scuola di Matematica di Giò Ponti, realizzato tra il 1932 ed il 1935, si distingue per la sua originalità in termini di scelte progettuali, costruttive e strutturali all’interno della della città universitaria di Roma di Chiara Turco - 12.06.2020 Pirelli Tower, Milan (1956–1961), interior, In 1923, Ponti was appointed artistic director of Richard Ginori, one of Italy's leading porcelain manufacturers, based in Milan and Sesto Fiorentino, changing the company's whole output through the involvement of some of the main Italian artists of the time, including the sculptor Salvatore Saponaro. [15], In the 1940s and early 1950s, Ponti turned to unique creations showcasing the skills of exceptional craftsmen. 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. Cassina)[15], realizzata partendo da un oggetto già esistente e di solito prodotto artigianalmente: la Sedia di Chiavari[16], migliorato in materiali e prestazioni. Sistemi strutturali composti da elementi rigidi (travi semplici grigliati di travi) nei quali il trasferimento dei carichi ai piedritti avviene attraverso la reazione della … From 1934 to 1942, he worked at the University of Padua, with the construction and interior design of the new Faculty of Arts, Il Liviano (1934–1940), then the artistic direction and interior design of the Aula Magna, the basilica and the rectorate of the Palazzo Bo. Gio Ponti morì nel 1979 ed è sepolto nel Cimitero Monumentale di Milano. This vast hangar was designed as an architecture laboratory, an exhibition space and a space for the presentation of studies and models. 1963: Continuum armchair for Pierantonio Bonacina, Lurago d'Erba, 1967: The Los Angeles Cathedral, sculpture. 1930: Furniture and objets for Fontana Arte. Nel 1952 costituisce con l’architetto Alberto Rosselli lo studio Ponti-Fornaroli-Rosselli[10]. E’ la 699 Superleggera di Gio Ponti e Cassina, che in questo 2017, compie i suoi primi 60 anni. 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. 1950–1955: Urban planning and buildings for Ina, Harrar-Dessiè neighborhood, 1951: Competition for the interior design of the ocean liners Asia and Vittoria (. [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. Lo stesso Gio Ponti, considerava questo progetto uno dei suoi tre capolavori (insieme al grattacielo Pirelli a Milano e la Concattedrale di Taranto). 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. 1935–1936: Laporte house, via Benedetto Brin. 1950–1960: Textiles for Jsa, Busto Arsizio, 1951: Display of a standard hotel room for the IXth. Nello stesso anno si sposò con la nobile Giulia Vimercati, di antica famiglia brianzola, da cui ebbe quattro figli (Lisa, Giovanna, Letizia e Giulio)[2]. 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). 1971: Gabriela chair for Walter Ponti, San Biagio. 1973–1975: Tiling for Ceramica d'Agostino. 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. [13] After this major success, Ponti played a major role in the modernisation of Italian decorative arts, especially thanks to his involvement in the Monza Biennials and the Milan Triennials. In 1970, Ponti presented his concept of an adapted house (casa adatta) at Eurodomus 3 in Milan, where the house is centred around a spacious room with sliding partitions, around which the rooms and service areas gravitate. 1961–1964: Parco dei Principi hotel, via Mercadante. 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. He then joined forces with engineers Antonio Fornaroli and Eugenio Soncini to form Studio Ponti-Fornaroli-Soncini which lasted until 1945. 1961–1963: Facade of the Shui Hing department store, Nathan Road. Gio Ponti, Sistema Informativo Unificato per le Soprintendenze Archivistiche, Accademia dei Facchini della Val di Blenio, Chiesa di San Maurizio al Monastero Maggiore, https://it.wikipedia.org/w/index.php?title=Gio_Ponti&oldid=117436103, Sepolti nel Cimitero Monumentale di Milano, Template Webarchive - collegamenti all'Internet Archive, Voci biografiche con codici di controllo di autorità, licenza Creative Commons Attribuzione-Condividi allo stesso modo, 1957 Casa di abitazione in via Plinio, 52 a Milano (con Antonio Fornaroli e, 1960 Casa di abitazione in via Bronzino, 5 a Milano (con Antonio Fornaroli e. S. Sermisoni (a cura di), "Gio Ponti. In the 1950s and in the 1960s, Ponti multiplied events in Italy and abroad. The bottles evoke stylized female bodies. 1939: Competition for the Palazzo dell'Acqua e della Luce ("Palace of Water and Light") for the E42, 1949: Interior design of the ocean liners Conte Biancamano and Conte Grande for, 1950: Interior design of the ocean liners. His studies were interrupted by his military service during World War I. He also rationalized the production system of the pieces while maintaining their high quality of execution. 1952–1958: Italian cultural institute, Carlo Maurillo Lerici Foundation. Outside, the walls were like suspended screens that defined the space of the house. Paradossi di Gio Ponti. Ponti also contributed to the creation in 1954 of one of the most important design awards: the Compasso d'Oro prize. 1927–1930: creation of two furniture collections, Il Labirinto and Domus Nova. At Eurodomus 2 in Turin in 1968, Ponti presented a model of a city, Autilia, for which he imagined a continuous vehicle circulation system. Gio Ponti morì a Milano nel 1979: riposa al Cimitero Monumentale[12]. 1958–1962: RAS office building, via Santa Sofia. [14], In the 1930s, while Ponti continued to design unique pieces of furniture for specific interiors, and encouraged the promotion of quality series production. Negli anni venti, avviò la sua attività di designer all'industria ceramica Richard Ginori, rielaborando complessivamente la strategia di disegno industriale della società; con le sue ceramiche, vinse il "Grand Prix" all'Esposizione internazionale di arti decorative e industriali moderne di Parigi del 1925[3]. He designed a considerable number of decorative art and design objects as well as furniture. Il libro è come uno scrigno che conserva quell’attimo. He invented lighting fixtures for Fontana Arte, Artemide (1967), Lumi (1960), and Guzzini (1967), but also fabrics for JSA and a dinner service for Ceramica Franco Pozzi (1967). 1964: Scarabeo sotto una foglia (Beetle under a leaf), villa Anguissola, Lido di Camaiore. The space requirement for furniture and services was reduced to a minimum. He also founded the Labirinto group, with Tomaso Buzzi, Pietro Chiesa and Paolo Venini, among others. Ponti also coordinated the Italian and European editions of the Eurodomus design exhibitions, including the exhibition "Formes italiennes" in 1967 at the Galeries Lafayette in Paris. 1934: De Bartolomeis villas, Val Seriana. As he built his first building in Milan, via Randaccio (1925–1926), the Ange Volant was an opportunity for Ponti to experiment with his personal conception of the Italian-style house, the principles of which he gathered in his book La Casa all'Italiana published in 1933. Giovanni Ponti, detto Gio[1] (Milano, 18 novembre 1891 – Milano, 16 settembre 1979), è stato un architetto e designer italiano fra i più importanti del dopoguerra[1]. In these years he was influenced by and associated with the Milanese neoclassical Novecento Italiano movement. 1953: Furniture and organized walls for Altamira, 1956: Enameled cooper objects and animals in collaboration with. GIO PONTI Un divano anni '40. Nel 1950 Ponti cominciò a impegnarsi nella progettazione di "pareti attrezzate", ovvero intere pareti prefabbricate che permettevano di soddisfare diversi bisogni, integrando in un unico sistema apparecchi e attrezzature fino ad allora autonome. For this complex, he designed two buildings with highly colored profiles, one of which was designed in collaboration with the architect Gigi Gho.[1]. 1966: Canopy for the main basilica at the Oropa sanctuary, 1967–1969: Colourful and triangular skyscrapers (. 1931–1932: Interior design of the restaurant Ferrario, Milan stock exchange. After World War 2, with the emergence of the Italian economic boom, the 1950s were a busy time for Ponti, who traveled abroad. 1960–1964: Tiling for Ceramica d'Agostino. The furniture also became flexible and space-saving in order to optimise space. Milano e Gio Ponti: 5 luoghi dove trovarlo #1. Ponti e passerelle dwg, attraversamenti pedonali, download gratuito, vasta scelta di file dwg per tutte le necessità del progettista In 1957, Ponti published Amate l'architettura (In Praise of Architecture), his seminal work where he defined the expression of a finished form (la forma finita) that was simple, light, and did not allow any possibility of extension, addition, repetition or superposition. In the last years of his life, Ponti was more than ever in search of transparency and lightness. Giovanni Ponti, detto Gio, nasce a Milano il 18 novembre 1891 e nel capoluogo lombardo si laurea in architettura, presso il Regio Politecnico, nel 1921. In quegli anni, la sua produzione fu improntata più ai temi classici, mostrandosi più vicino al movimento Novecento, esponente del razionalismo[4]. Accompagnato da un certificato di autenticità dei Gio Ponti Archives. Ponti began his architectural career in partnership with Mino Fiocchi and Emilio Lancia from 1923 through 1927, and then through 1933 with Lancia only, as Studio Ponti e Lancia PL. Visualizza altre idee su Architettura, Architettura moderna, Architetti. [20] In 1948 he returned to Domus, where he remained as editor until his death. Costruire è carattere della loro razza, forma della loro mente, vocazione ed impegno del loro destino, espressione della loro esistenza, segno supremo ed immortale della loro storia.». Questa seduta ha fatto la storia del design. #2. La Chiesta di San Luca Evangelista, via Ampere 75 In pianta, è organizzato a partire … 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. 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 [18] Some of his furniture is now being reissued by Molteni&C. Inizialmente, nel 1921, aprì uno studio assieme gli architetti Mino Fiocchi ed Emilio Lancia (1926-1933), per poi passare alla collaborazione con gli ingegneri Antonio Fornaroli ed Eugenio Soncini (1933-1945). Ponti died on 16 September 1979. Nel 1937 incaricò Giuseppe Cesetti di eseguire un pavimento in ceramica di vaste dimensioni, esposto alla Mostra Universale di Parigi, in una sala dove ci sono anche le opere di Gino Severini e Massimo Campigli. Within the new multidisciplinary review of art, architecture and interior design Domus, which he founded in 1928 with the publisher Gianni Mazzochi and which he directed almost all his life, Ponti had the opportunity to spread his ideas. 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. Spacious, equipped and built with modern materials, they met the requirements of the new Milanese bourgeoisie. 1934: Room "Più leggero dell'aria" ("Lighter than air") at the Esposizione dell’aeronautica italiana, Palazzo dell'Arte. [1] In Caracas, Ponti had freedom to accomplish one of his masterpieces: the Villa Planchart (1953–1957), a house designed as a work of art on the heights of the capital, immersed in a tropical garden. The Gabriela chair (1971) with a reduced seat, as well as the Apta furniture series (1970) for Walter Ponti, illustrated this new way of life. Nel 1923 partecipò alla I Biennale delle arti decorative tenutasi all'ISIA di Monza e successivamente fu coinvolto nella organizzazione delle varie Triennali, sia a Monza che a Milano. This small oval building was covered with white and green ceramic tiles, both inside and outside, including the roof. Le più importanti opere di Gio Ponti a Milano. This concept applied to architecture as well as art and design. They were used for the interior decoration of the hotels Parco dei Principi in Sorrento (1960) and in Rome (19611964). It was symbolized by the hexagonal shape of the diamond that Ponti used in many of his creations. ), spanned two decades.[17]. Conceived as large-scale abstract sculpture, it can be seen from the inside as an uninterrupted sequence of points of view where light and color prevail. With the church of San Francesco al Fopponino in Milan (1961–1964), he created his first façade with perforated hexagonal openings. 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. Nervi fu uno dei più grandi ingegneri del suo tempo, specializzato in strutture … He fought in the Pontonier Corps with the rank of captain, from 1916 to 1918, receiving the Bronze Medal and the Italian Military Cross. 1935–1937: Paradiso del Cevedale hotel, Val Martello. From the beginning of his career, Ponti promoted Italian creation in all its aspects. He created in particular a cylindrical lamp surrounded by crystal discs and mirrors and the famous Bilia Lamp. Edificio sede della Riunione Adriatica di Sicurtà (RAS), Milano (1956-1960), Il suo riallacciarsi e utilizzare i valori del passato trovò sostenitori nel, è il grattacielo in calcestruzzo armato più alto del mondo, Villa Bouilhet "L'ange volant" Garches, Paris, France - Giò Ponti. 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. With Ceramica D'Agostino, he designed tiles with blue and white or green and white motifs that once combined create different more than a hundred motifs. With the first office building of the Montecatini chemical group (1935–1938), for which he used the latest techniques and materials produced by the firm, in order to reflect the company's avant-garde spirit, Ponti designed, on an unprecedented scale (the offices housed 1,500 workstations), a building in every detail, from architecture to furniture.[5]. 1956–1957: Diamond-shaped tiles and ceramic pebbles for Ceramica Joo, Limito. Fra il 1966 ed il 1968 collaborò con l'impresa di produzione Ceramica Franco Pozzi di Gallarate[senza fonte]. In collaboration with the Milanese firm Ceramica Joo, he created diamond-shaped tiles with which he covered most of his facades (Villa Arreaza in Caracas, 1954–1956, Villa Nemazee in Tehran, 1957–1964, Shui Hing department store in Hong Kong, 1963, San Carlo Borromeo Hospital Church, 1964–1967 and Montedoria building, 1964–1970 in Milan). With the Bijenkorf department store in Eindhoven in the Netherlands (1966–1969), Ponti proposed another solution, by creating a tiled façade for an existing building. Ponti is also involved in the project to expand the new university campus in Rome, led by the urban planner Marcello Piacentini by designing the School of Mathematics school, inaugurated in 1935. From 1950 to 1955, he was also in charge of the urban planning project for the Harar-Dessiè social housing district in Milan with architects Luigi Figini and Gino Pollini. Dagli anni Cinquanta diviene il proget-tista italiano più noto in campo inter-nazionale, realizzando opere … 1959: Auditorium of the Time-Life Building, Sixth Avenue. strutture: travi e pilastri in cemento armato; facciata: lastre di pietra (basamento); intonaco civile in vari colori (piani superiori) G. Celant. «Gli italiani sono nati per costruire. On this occasion, he made friends with Tony Bouilhet, director of the silversmith company Christofle. 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. Laura Conconi, saggio critico di, "Ambrogio Pozzi. 1931–1936: Case tipiche (typical houses), via de Togni. Sempre negli stessi anni iniziò anche la sua attività editoriale: nel 1928 fondò la rivista Domus, testata che diresse fino alla sua morte, eccetto che nel periodo 1941-1948 in cui fu direttore di Stile[4]. 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. Ad esempio, tra Gio Ponti e José Antonio Coderch. Il suo nome ha meritato l'iscrizione al Famedio del medesimo cimitero[13]. All the materials and the furniture, chosen or designed by Ponti, were shipped from Italy. Nonostante questo, Ponti realizzerà nella Città universitaria di Roma nel 1934 la Scuola di Matematica[17] (una delle prime opere del Razionalismo italiano) e nel 1936 il primo degli edifici per uffici della Montecatini a Milano. Giovanni "Gio" Ponti (18 November 1891 – 16 September 1979) was an Italian architect, industrial designer, furniture designer, artist, teacher, writer and publisher.[1]. After the death of Alberto Rosselli he continued to work with his longtime partner Antonio Fornaroli. Cento lettere", prefazione di Joseph Rykwert, Rosellina Archinto Editore, Milano, 1987. Nel 1951, si unì allo studio insieme a Fornaroli, l'architetto Alberto Rosselli[11]. In 1956, they imagined an imaginary and colorful bestiary, light decorative objects such as cut and folded paper. From 1946 to 1950, he designed many objects for this glassmaker: bottles, chandeliers, including a multicoloured chandelier. L’archivio Ponti[10] è stato donato dagli eredi dell'architetto (donatori Anna Giovanna Ponti, Letizia Ponti, Salvatore Licitra, Matteo Licitra, Giulio Ponti) nel 1982. Together with this manufacturer, he also produced geometrically decorated and coloured tiles to cover the floors of the Salzburger Nachrichten newspaper's headquarters in Salzburg in 1976. 1964–1970: Montedoria building, via Pergolesi. 1977–1978: Facade of the Shui Hing department store. At the turn of the 1940s, architectural projects continued initially for Ponti, with the construction of the Columbus Clinic (1939–1949) in Milan, and the interior design of the Palazzo del Bo at the University of Padua where he carried out a monumental fresco on the stairs leading to the rectorate. With the artist and enameller Paolo De Poli, they created enamelled panels and brightly colored furniture. A sofa 1940's. With the help of engineer Pier Luigi Nervi, a concrete specialist who advised him on the structure, he built with his studio and Arturo Danusso the Pirelli tower (1956–1960). 1944: Sets and costumes for the ballet Festa Romantica by Giuseppe Piccioli. Qui iniziò il periodo di più intensa e feconda attività sia nell'architettura che nel design, abbandonando i frequenti riallacci al passato neoclassico e puntando su idee più innovative.
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