Gio Ponti

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Gio Ponti
Gio Ponti 1950s.jpg
Born 18 November 1891
Milan, Italy
Died 16 September 1979 (aged 87)
Milan, Italy
Nationality Italian
Alma mater Politecnico di Milano
Occupation Architect
Buildings Pirelli Tower, Milan

Giovanni "Gio" Ponti (18 November 1891 – 16 September 1979) was an Italian architect, industrial designer, furniture designer, artist, teacher, writer and publisher.[1]

During his career, which spans six decades, Gio Ponti has built more than a hundred buildings in Italy and in the rest of the world. He has signed a considerable number of decorative art and design objects as well as furniture.[2] Thanks to the magazine Domus, which he founded in 1928 and directed almost all his life, and thanks to his active participation in exhibitions such as the Milan Triennial, he was also an enthusiastic advocate of an Italian-style art of living and a major player in the renewal of Italian design after the WW2.[3] From 1936 to 1961, he taught at the Milan Polytechnic School and trained several generations of designers. Gio Ponti also contributed to the creation in 1954 of one of the most important design awards: the Compasso d'Oro prize. Gio Ponti died on 16 September 1979.

His most famous works are the Pirelli Tower, built from 1956 to 1960 in Milan in collaboration with the engineer Pier Luigi Nervi, the Villa Planchart in Caracas and the Superleggera chair, produced by Cassina in 1957.

Early life[edit]

Ponti's parents were Enrico Ponti and Giovanna Rigone. His studies are interrupted by his military service during World War I. He fought in the Pontonier Corps with the rank of captain, from 1916 to 1918, receiving the Bronze Medal and the Italian Military Cross.

Ponti graduated with a degree in Architecture in 1921 from the Politecnico di Milano University. Also in 1921, he married Giulia Vimercati; they eventually would have four children (Lisa, Giovanna, Letizia et Giulio) and eight grandchildren.

Architecture and interior design[edit]

The Denver Art Museum, 1971

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. In these years he was influenced by and associated with the Milanese neoclassical Novecento Italiano movement. In 1925, Ponti participated in the International Exhibition of Modern Decorative and Industrial Arts in Paris, with the porcelain manufacturer. On this occasion, he made friends with Tony Bouilhet, director of the silversmith company Christofle. The family Bouilhet who entrusted him with his first architectural commission abroad, with the construction of the Ange Volant (1926-1928, in collaboration with Emilio Lancia and Tomaso Buzzi), a country house located on the edge of the Saint-Cloud golf course, on the outskirts of Paris. As he builds his first building in Milan, via Randaccio (1925-1926), the Ange Volant is an opportunity for Gio Ponti to experiment his personal conception of the Italian-style house, the principles of which he gathered in his book La Casa all'Italiana published in 1933. Other outputs of the time include the 1928 Monument to the Fallen with the Novecento architects Giovanni Muzio, Tomaso Buzzi, Ottavio Cabiati, Emilio Lancia and Alberto Alpago Novello

The 1930s are years of intense activity for Gio Ponti. The architect is involved in many projects, particularly in his native city of Milan. With the construction of the Borletti funeral chapel in 1931, he starts to adopt a modernist shift. By removing all ornament, Ponti moves towards formal simplification where he seeks to make style and structure coincide. The ten "case tipiche" (typical houses) built in Milan between 1931 and 1938 are also close to Rationalist Modernism while retaining features of Mediterranean houses like balconies, terraces, loggias and pergolas. Spacious, equipped and built with modern materials, they meet the requirements of the new Milanese bourgeoisie. The construction of the Rasini building (1933-1936) with its flat roofs mark also the end of his partnership with Emilio Lancia around 1933. He then joins forces with engineers Antonio Fornaroli and Eugenio Soncini to form Studio Ponti-Fornaroli-Soncini which would last until 1945.[4]

Still in Milan, the 108 meter high 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. 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]

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.[6] Ponti chose bright and functional spaces with simple lines, including a fan-shaped building that houses three amphitheaters. 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.[7] In the late 1930s, Gio Ponti deepened his research on Mediterranean housing by collaborating with writer and architect Bernard Rudofsky. 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.

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.[7] From 1943, due to the Second World War, his activity as an architect slowed down. This period corresponds 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. He also plans a film adaptation of Luigi Pirandello's Enrico IV for Louis Jouvet and Anton Giulio Bragaglia.

After WW2, with the emergence of the Italian economic boom, the 1950s are a busy time for Ponti who travels a lot abroad. He participates 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.[8] Construction continues in Milan. In 1952, he creates a new agency with Antonio Fornaroli and his son-in-law Alberto Rosselli. This vast hangar is designed as an architecture laboratory, an exhibition space and a space for the presentation of studies and models. After the death of Alberto Rosselli he continued to work with his longtime partner Antonio Fornaroli. A block away, in via Dezza, Ponti builds a nine-story apartment building, which housed the family apartment. From 1950 to 1955, he is also in charge of the urban planning project for the Harar-Dessiè social housing district in Milan with architects Luigi Figini and Gino Pollini. For this complex, he designed two buildings with highly colored profiles, one of which was designed in collaboration with the architect Gigi Gho.[1]

Pirelli Tower, Milan (1956-61). Photo by Paolo Monti (Fondo Paolo Monti, BEIC).

With the help of engineer Pier Luigi Nervi, a concrete specialist who advises him on the structure, he builds with his studio and Arturo Danusso the Pirelli tower (1956-1960).[9] Facing Milan's main station, this 31-story, 127-meter high skyscraper housed the headquarters of Pirelli, a company specializing in tyres and rubber products. At the time of its inauguration, and for a few months, it became the tallest building in Europe. Together with the Galfa Tower by Melchiorre Bega (1956-1959) and the Velasca Tower (1955-1961) of the BBPR Group, this skyscraper definitely changed Milan's landscape. 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.

In the 1950s, and thanks to his role in the Domus Magazine, Ponti is now internationally known and commissions are multiplying, with constructions in Venezuela, Sweden, Iraq and projects in Brazil.[4] In New York City, he sets up the Alitalia airline agency (1958) on Fifth Avenue and is entrusted with the construction of the 250-seat auditorium of the Time-Life building (1959).[1] In Caracas, Ponti has great freedom to accomplish one of his masterpieces: the Villa Planchart (1953-1957), a house designed as a total work of art on the heights of the capital, immersed in a tropical garden. 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. Outside, the walls are like suspended screens that define the space of the house. At night, a lighting system highlights its contours. All the materials, but also all the furniture, chosen or designed by Ponti, were shipped from Italy.[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. This villa has since been destroyed.

In the field of interior design, Ponti multiplies inventions and favours multifunctional solutions; In 1951, he develops an ideal hotel room for the Milan Triennial, in which he presents a "dashboard" bed headboard composed of shelves, some of which are mobile and control buttons for electricity or radio. He then applies this solution to domestic spaces and offices, with "organised walls". Next come the "fitted windows", for the manufacturer Altamira in particular and that he will use for his apartment via Dezza.[1] With its vertical and horizontal frames through which shelves, bookcases and frames can be arranged, the "fitted window" becomes the fourth transparent wall of a room. It ensures a transition between the inside and the outside.

The 1960s and 1970s are dominated by international architectural projects in places like Tehran, Islamabad and Hong Kong where Gio Ponti develops new architectural solutions: the façades of his buildings are becoming lighter and seem to be detached like suspended screens. With the church of San Francesco al Fopponino in Milan (1961-1964), he created his first façade with perforated hexagonal openings. The sky and light become important protagonists of his architecture. This theatricality is reinforced by the omnipresence of ceramics, whose uses he reinvents both indoors and outdoors. In collaboration with the Milanese firm Ceramica Joo, he creates diamond-shaped tiles with which he covers 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 Ceramica D'Agostino, he designs tiles with blue and white or green and white motifs that once combined create different more than a hundred motifs. They are used for the interior decoration of the hotels Parco dei Principi in Sorrento (1960) and in Rome (1961-1964). The Hotel Parco dei Principi in Sorrento is one of the first design hotel in Italy. Ponti also offers to Domus readers detailed plans of a circular house called Il scarabeo sotto la foglia (1964- The beetle under a leaf). This small oval building is entirely covered with white and green ceramic tiles, both inside and outside, including the roof. Its envelope reflects the surrounding landscape and blends into it, like the shell of a beetle. In 1966, collector Giobatta Meneguzzo builds his version of the Beetle under a leaf in the province of Vicenza and entrusted the Italian designer Nanda Vigo for the interior design. With the Bijenkorf department store in Eindhoven in the Netherlands (1966-1969), Ponti proposes another solution, by creating a tiled façade for an existing building. Modular, it is enlivened thanks to the non-uniform arrangement of its openings with various shapes. Lit from behind, the facade turns into a bright screen at night. Facing the building, Ponti designed a living square where the inhabitants could meet and rest on sculptures built for this purpose. Ponti also deepened his reflection on the skyscraper with a project of triangular and coloured towers (1967-1969).

In the last years of his life, Gio Ponti is more than ever is in search of transparency and lightness. He now sees his facades as folded and perforated sheets of paper with geometric shapes. The 1970s begin with the inauguration in 1970 of the Taranto Cathedral, a white rectangular building topped with a huge concrete facade perforated with openings. In 1971, he participates in the construction of the Denver Art Museum in Colorado, taking care of the building's exterior envelope. He also submits 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".

Decorative arts and industrial design[edit]

In 1923, Ponti is 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.[11][12] He completely renews the iconographic repertoire by freely revisiting the classical tradition. He also rationalizes the production system of the pieces while maintaining their high quality of execution. The pieces are presented at the first decorative arts biennial in Monza in 1923. With his new designs, he wins the great prize for ceramics in 1925 at the International Exhibition of Modern Decorative and Industrial Arts in Paris.[13] After this major success, Ponti will play a major role in the modernisation of Italian decorative arts, especially thanks to his involvement in the Monza Biennials and the Milan Triennials. In the 1920's, Ponti begins numerous collaborations, notably with the silverware company Christofle, the glassmakers Venini and Fontana Arte. He also founds the Labirinto group, with Tomaso Buzzi, Pietro Chiesa and Paolo Venini, among others. The Labirinto unique piece furniture made of luxurious materials; at the same time, he designed Domus Nova together with Emilio Lancia, a furniture collection with simple lines that was produced in series and sold by the Milanese department store La Rinascente.[14]

Gio Ponti. Bottle with Stopper, ca. 1949 Brooklyn Museum

In the 1930s, while Ponti continues to design unique pieces of furniture for specific interiors, he also encourages the promotion of quality series production. In 1930, he designs furniture and lighting for the glassmaker Fontana and becomes in 1933, together with Pietro Chiesa, the artistic director of the branch Fontana Arte. He creates in particular a cylindrical lamp surrounded by crystal discs and mirrors and the famous Bilia Lamp.[15]

In the 1940s and early 1950s, Ponti turned to unique creations showcasing the skills of exceptional craftsmen. With the artist and enameller Paolo De Poli, they created enamelled panels and brightly colored furniture. In 1956, they imagined an imaginary and colorful bestiary, light decorative objects such as cut and folded paper. Other collaborations have also been established, in particular with the Dal Monte brothers, who specialise in the production of papier-mâché objects, the ceramist Pietro Melandri, the porcelain manufacturer Richard Ginori and the Venini glass factory in Murano. From 1946 to 1950, he designed many objects for this glassmaker: bottles, chandeliers, including a multicolured chandelier. The bottles evoke stylized female bodies.[16] It is also in 1940 that he begins working with the decorator and designer Piero Fornasetti. 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.), spanned two decades.[17]

At the turn of the 1950s, Ponti deploys a prolific creation where he seeks to combine aesthetic and functional requirements: the espresso machine for La Pavoni in 1948 and the Visetta sewing machine for Visa (1949) but also textiles for JSA, door handles for Olivari, a range of sanitary facilities for Ideal Standard, cutlery for Krupp Italiana and Christofle, lighting for Arredoluce and furniture for the Swedish department store Nordiska Kompaniet.[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.[18] In 1957, the Superleggera chair designed for Cassina, and still produced today, is put on the market. 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. the chair, which is very strong but also so light that it can be lifted up by a child using just one finger.[18] Some of his furniture is now being reissued by Molteni&C. In the United States, he participates in the exhibition Italy at Work at the Brooklyn Museum in 1950, and creates furniture for Singer & Sons, Altamira, and cutlery for Reed & Barton ("Diamond" flatware,1958),[16] adapted for production by designer Robert H. Ramp).

Many models have also emerged in the 1960s, such as the Continuum rattan armchair for Pierantonio Bonacina (1963), wooden armchairs for Knoll International (1964), the Dezza armchair for Poltrona Frau (1966), a sofa bed for Arflex, the Novedra armchair for C&B (1968) or the Triposto stool for Tecno (1968). 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).

In 1970, Ponti presents 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. The space requirement for furniture and services is reduced to a minimum. The furniture also becomes flexible and space-saving in order to optimise space. The Gabriela chair (1971) with a reduced seat, as well as the Apta furniture series (1970) for Walter Ponti, illustrate this new way of life.

Ponti continues to create wall and floor coverings whose graphic rendering becomes a work of art in itself. Foliage patterns are developed on tiles for Ceramica D'Agostino. Together with this manufacturer, he also produces geometrically decorated and coloured tiles to cover the floors of the Salzburger Nachrichten newspaper's headquarters in Salzburg in 1976. A similar process is used in 1978 to cover the facade of the Shui Hing department store in Singapore. Finally, that same year, his ultimate decorative and poetic shapes, a bestiary of folded silver leaves, are interpreted by the silversmith Lino Sabattini. Gio Ponti dies on 16 September 1979.

Advocacy[edit]

From the beginning of his career, Gio Ponti has been promoting Italian creation in all its aspects. 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. Thanks to its involvement, the Biennale underwent tremendous development: renamed the Triennial of Art and Modern Architecture in 1930 and relocated in Milan from 1933, it became a privileged place to observe innovation at the international level.

Within the new multidisciplinary review of art, architecture and interior design Domus, which he founds in 1928 with the publisher Gianni Mazzochi and which he directs almost all his life, Ponti has the opportunity to spread his ideas.[19] The aim of this review is to document all forms of artistic expression in order to stimulate creation through an independent critical perspective. A mirror of the architectural and decorative arts trends, it introduces Italian readers to the modernist movement and creators such as Le Corbusier, Ludwig Mies van der Rohe, Jean-Michel Frank and Marcel Breuer. Ponti will also present the work of Charles Eames and of the decorator Piero Fornasetti. Over the years, the magazine became more international and played an important role in the evolution of Italian and international design and architecture. Still published today, Domus is a reference in the fields of architecture and design.

In 1941 Ponti he resigned as editor of Domus and set up Stile magazine, which he edited until 1947.[20] In 1948 he returns to Domus, where he remained as editor until his death. His daughter Lisa Licitra Ponti soon joins the editorial team. In the 1950s, the review becomes more international and the reopening of borders encourages confrontation with different cultural and visual worlds. Thanks to his active involvement in numerous exhibitions, Ponti establishes himself as a major player in the development of post-war design and the diffusion of "Made in Italy".

In 1957, Gio Ponti publishes Amate l'architettura (In Praise of architecture), his seminal work where he defines the expression of a finished form (la forma finita) that is simple, light, and does not allow any possibility of extension, addition, repetition or superposition. This concept applies to architecture as well as art and design. It is symbolized by the hexagonal shape of the diamond that Ponti uses in many of his creations.

In the 1950s and in the 1960s, Gio Ponti multiplies events in Italy and abroad. From 1964, he organises a series of exhibitions in the Ideal Standard showroom in Milan, named "Espressioni" featuring a new generation of talents such as Ettore Sottsass, Bruno Munari, Achille Castiglioni, Nanda Vigo, Enzo Mari or the artists Lucio Fontana and Michelangelo Pistoletto. It is also in the mid 1960s that he befriends art critic Pierre Restany, who becomes a regular contributor to the Domus magazine. 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. At Eurodomus 2 in Turin in 1968, Ponti presented a model of a city, Autilia, for which he imagined a continuous vehicle circulation system. The art historian Nathan Shapira, his student and disciple, organised that same year, with the help of Gio Ponti, his first retrospective exhibition which travelled the United States for two years.

From 1936 to 1961 he worked as a professor on the permanent staff of the Faculty of Architecture at Politecnico di Milano University.

Awards[edit]

In 1934 he was given the title of "Commander" of the Royal Order of Vasa in Stockholm. He also obtained the Accademia d'Italia Art Prize for his artistic merits, as well as a gold medal from the Paris Académie d'Architecture. Finally, he obtained an honorary Doctorate from the London Royal College of Art.[21]

Selected works and projects[edit]

Architecture and interior design[edit]

  • 1924-1926: via Randaccio building, Milan, Italy
  • 1926-1928: country house l'Ange volant, Paris Region, France
  • 1928: Borletti building, via San Vittore, Milan, Italy
  • 1928-1930: Via Domenichino building, Milan, Italy (interior design and furnishing of the Vimercati apartment in the building)
  • 1931: Borletti funerary chapel, Milan, Italy
  • 1931-1932: Interior design of the restaurant Ferrario, Milan stock exchange, Palazzo Mezzanotte, piazza degli affari, Milan, Italy
  • 1931-1936: Case tipiche (typical houses), via de Togni, Milan, Italy (1931-1934, Domus Julia; 1932-1934, Domus Fausta; 1932-1936, Domus Carola)
  • 1932-1935: School of Mathematics, university campus la Sapienza, Rome, Italy
  • 1932-1936: ItalCima chocolate factory, via Crespi, Milan, Italy
  • 1933: Littoria tower(today the Branca tower), Milan, Italy
  • 1933-1936: Rasini building, bastioni di Porta Venezia, Milan, Italy
  • 1933-1938: Case tipiche (typical houses), via Letizia and via del Caravaggio, Milan, Italy (1933-1936, Domus Serena; 1933-1937, Domus Livia, Domus Aurelia, Domus Honoria; 1938, Domus Flavia)
  • 1934: De Bartolomeis villas, Val Seriana, Italy
  • 1934: Room "Più leggero dell'aria" ("Lighter than air") at the Esposizione dell’aeronautica italiana, Palazzo dell'Arte, Milan, Italy
  • 1934-1935: Domus Adele (Magnaghi and Bassanini building), viale Zugna, Milan, Italy
  • 1934-1940: Faculty of the Arts, Il Liviano, University of Padua, piazza del Capitanato, Padua, Italy
  • 1935-1936: Laporte house, via Benedetto Brin, Milan, Italy
  • 1935-1936: Interior design and furnishing of the Italian cultural institute, Lützow-Fürstenberg Palace, Vienna, Austria
  • 1935-1937: Paradiso del Cevedale hotel, Val Martello, Bolzano, Italy
  • 1935-1938: First Montecatini building, via Turati, Milan, Italy
  • 1936: Design of the universal exhibition of the catholic press, Vatican, Italy
  • 1936-1938: Domus Alba, via Goldoni, Milan, Italy
  • 1936-1942: Ferrania building (today Fiat), corso Matteotti, Milan, Italy
  • 1936-1942: Artistic direction and interior design of the Aula Magna, basilica and administrative building of Palazzo del Bo, University of Padua, Padua, Italy
  • 1938: San Michele hotel, Capri, Italy (project)
  • 1938: Design of the "Mostra della Vittoria", Fiera di Padova, Padua, Italy
  • 1938-1949: Columbus clinic, via Buonarotti, Milan, Italy
  • 1939: Competition for the Palazzo dell'Acqua e della Luce ("Palace of Water and Light") for the E42, Rome, Italy (project)
  • 1939-1952: Piazza San Babila building, Milan, Italy
  • 1939-1952: RAI headquarters(ex-EIAR), corso Sempione, Milan, Italy
  • 1947-1951: Second Montecatini building, largo Donegani, Milan, Italy
  • 1949: Interior design of the ocean liners Conte Biancamano and Conte Grande for Società di Navigazione Italia, Genoa, Italy
  • 1950: Interior design of the ocean liners Andrea Doria and Giulio Cesare for Società di Navigazione, Gruppo IRI-Finmare, Genoa, Italy
  • 1950-1955: Urban planning and buildings for Ina, Harrar-Dessiè neighborhood, Milan, Italy
  • 1951: Competition for the interior design of the ocean liners Asia and Vittoria (project)
  • 1951: Interior design of the ocean liner Oceania for Lloyd Triestino, Trieste, Italy
  • 1952: Architecture studio Ponti-Fornaroli-Rosselli, via Dezza, Milan, Italy
  • 1952: Interior design of the ocean liner Africa for Lloyd Triestino, Trieste, Italy
  • 1952-1958: Italian cultural institue, Carlo Maurillo Lerici Foundation, Stockholm, Sweden
  • 1953: Italian-Brazilian-Centre, Predio d'Italia, São Paulo, Brazil (project)
  • 1953: Institute of nuclear physics, São Paulo, Brazil (project)
  • 1953: Villa Taglianetti, São Paulo, Brazil (project)
  • 1953-1957: Villa Planchart, Caracas, Venezuela
  • 1954-1956: Villa Arreaza, Caracas, Venezuela
  • 1955-1960: San Luca Evangelista church, via Vallazze, Milan, Italy
  • 1956-1957: Building, via Dezza, Milan, Italy
  • 1956-1960: Pirelli tower, piazza Duca d'Aosta, Milan, Italy
  • 1956-1962: Development board, Baghdad, Iraq
  • 1957-1959: Carmelite convent, Bonmoschetto, Sanremo, Italy
  • 1957-1964: Villa Nemazee, Tehran, Iran
  • 1958: Interior design of the Alitalia agency, Fifth Avenue, New York City, United States
  • 1958-1962: RAS office building, via Santa Sofia, Milan, Italy
  • 1959: Auditorium of the Time-Life Building, Sixth Avenue, New York City, United States
  • 1960: Parco dei Principi hotel, Sorrento, Italy
  • 1961: Design of the Mostra internazionale del lavoro, Italia'61, Turin, Italy
  • 1961-1963: Facade of the Shui Hing department store, Nathan Road, Hong Kong
  • 1961-1964: Parco dei Principi hotel, via Mercadante, Rome, Italy
  • 1961-1964: San Francesco al Fopponino church, via Paolo Giovio, Milan, Italy
  • 1962: Pakistan House hotel, Islamabad, Pakistan
  • 1962-1964: Ministerial buildings, Islamabad, Pakistan
  • 1963: Villa for Daniel Koo, Hong Kong
  • 1964: Scarabeo sotto una foglia (Beetle under a leaf), villa Anguissola, Lido di Camaiore, Massa Carrara, Italy
  • 1964-1967: San Carlo Borromeo hospital church, via San Giusto, Milan, Italy
  • 1964-1970: Montedoria building, via Pergolesi, Milan, Italy
  • 1964-1970: Cathedral, Tarento, Italy
  • 1966: Canopy for the main basilica at the Oropa sanctuary, Biella, Italy
  • 1966-1969: Facade of De Bijenkorf department store, Eindhoven, Netherlands
  • 1967-1969: Colourful and triangular skyscrapers (project)
  • 1970-1972: Denver Art Museum, Denver, Colorado, United States
  • 1971: Competition for the Plateau Beaubourg, Paris, France (project)
  • 1974: Facade for the Mony Konf building, Hong Kong
  • 1976: Tile floors for the headquarters of the Salzburger Nachtrichten newspaper, Salzburg, Austria
  • 1977-1978: Facade of the Shui Hing department store, Singapore

Decorative arts and design[edit]

References[edit]

  • Celant, Germano (2011). Espressioni di Gio Ponti. Milan: Mondadori Electa. ISBN 9788837078775.
  • Crippa, Maria Antonietta; Capponi, Carlo (2006). Gio Ponti e l'architettura sacra. Milan: Silvana editoriale.
  • Lamia, Doumato (1981). Gio Ponti (Architecture series—bibliography). Monticello: Vance Bibliographies.
  • Fiell, Charlotte; Fiell, Peter (1999). Design of the 20th Century. Cologne: Taschen. ISBN 3-8228-5873-0.
  • Green, Keith Evan (2006). Gio Ponti and Carlo Mollino: Post-war Italian Architects and the Relevance of Their Work Today. Lewiston/Queenston/Lampeter: Edwin Mellen Press.
  • Irace, Fulvio (1988). La Casa all'italiana. Milan: Mondadori Electa. ISBN 9788843524495.
  • La Pietra, Ugo, Gio Ponti, New York: Rizzoli International, 1996
  • Licitra Ponti, Lisa, Gio Ponti, The Complete Work, 1928–1978, Cambridge (Mass.): MIT Press, 1990
  • Fabrizio Mautone, Gio Ponti. La committenza Fernandes, Electa Napoli, 2009, ISBN 978-88-510-0603-7
  • Gio Ponti, In Praise of Architecture, NY: F.W. Dodge Corporation, 1960. Library of Congress number 59-11727
  • Graziella Roccella, Gio Ponti: Master of Lightness, Cologne: Taschen, 2009, ISBN 978-3-8365-0038-8
  • Marco Romanelli, Licitra Ponti, Lisa (ed.), Gio Ponti. A World, Milan: Abitare Segesta, 2003
  • Daniel Sherer, “Gio Ponti: The Architectonics of Design,” Catalogue Essay for Retrospective Gio Ponti: A Metaphysical World, Queens Museum of Art, curated by Brian Kish, 15 Feb – 20 May 2001, 1–6.
  • Daniel Sherer, “Gio Ponti in New York: Design, Architecture, and the Strategy of Synthesis,” in Espressioni di Gio Ponti, ed. G. Celant. Catalogue essay for the Ponti Exhibition at the Triennale di Milano, 6 May – 24 July 2011 (Milan: Electa, 2011), 35–45.
  • Mario Universo, Gio Ponti designer: Padova, 1936–1941, Rome: Laterza, 1989

Citations[edit]

  1. ^ a b c d Lisa., Licitra Ponti, (1990). Gio Ponti : l'opera. Ponti, Gio, 1891-1979. (1st ed.). Milano: Leonardo. ISBN 8835500834. OCLC 23017967.
  2. ^ Lisa., Licitra Ponti, (1990). Gio Ponti : l'opera. Ponti, Gio, 1891-1979. (1st ed.). Milano: Leonardo. ISBN 8835500834. OCLC 23017967.
  3. ^ "Treccani". Treccani.it.
  4. ^ a b Graziella., Roccella,. Gio Ponti 1891-1979 : master of lightness (English ed.). Köln. ISBN 9783836564397. OCLC 1025334052.
  5. ^ Lucia., Miodini, (2001). Gio Ponti : gli anni trenta. Milano: Electa. ISBN 8843577042. OCLC 49874443.
  6. ^ Archi DiAP http://www.archidiap.com/opera/scuola-di-matematica/. Retrieved 4 August 2017. Missing or empty |title= (help)
  7. ^ a b Il miraggio della concordia : documenti sull'architettura e la decorazione del Bo e del Liviano : Padova 1933-1943. Nezzo, Marta, 1966-. [Treviso]: Canova. 2008. ISBN 9788884092052. OCLC 310391604.
  8. ^ GMGprogettocultura (2016). Arte sulle motonavi: il varo dell’utopia. Chioggia: Il Leggio Libreria editrice.
  9. ^ 1951-, Brevini, Franco, (2005). Grattacielo Pirelli : un capolavoro di Gio Ponti per la Lombardia. Milano: Touring club italiano. ISBN 8836533825. OCLC 58466940.
  10. ^ Gio Ponti : la Villa Planchart a Caracas = Gio Ponti : Villa Planchart en Caracas. Ponti, Gio, 1891-1979., Greco, Antonella., Rubini, Rubino. Roma: Kappa. 2008. ISBN 9788878909007. OCLC 234368228.
  11. ^ "Il pellegrino stanco by Gio Ponti by Salvatore Saponaro | Blouin Art Sales Index". www.blouinartsalesindex.com. Retrieved 2017-12-12.
  12. ^ "Il Novecento - SALVATORE SAPONARO". www.edixxon.com. Retrieved 2017-12-12.
  13. ^ 1891-1979,, Ponti, Gio,. Gio Ponti : la collezione del Museo Richard-Ginori della manifattura di Doccia = Gio Ponti : the collection of the Museo Richard-Ginori della manifattura di Doccia. Frescobaldi Malenchini, Livia,, Giovannini, Maria Teresa,, Rucellai, Oliva,, Museo Ginori di Doccia. [Falciano]. ISBN 9788898855339. OCLC 929450430.
  14. ^ La Pietra, Ugo (2009). Gio Ponti, l'arte si innamora dell'industria. Milan: Rizzoli.
  15. ^ Franco,, Deboni,. Fontana Arte : Gio Ponti, Pietro Chiesa, Max Ingrand. Turin. ISBN 9788842222163. OCLC 881689184.
  16. ^ a b c Fulvio., Irace, (2011). Gio Ponti. Ponti, Gio, 1891-1979. Milano: 24 ore cultura. ISBN 9788861161382. OCLC 746301220.
  17. ^ ...)., Mauriès, Patrick, (1952- (DL 2015, cop. 2015). Piero Fornasetti : la folie pratique. Paris: Les Arts décoratifs. ISBN 9782916914558. OCLC 905906425. Check date values in: |date= (help)
  18. ^ a b Made in Cassina. Bosoni, Giampiero. [Paris]: Skira-[Flammarion]. cop. 2008. ISBN 9782081219205. OCLC 470583524. Check date values in: |date= (help)
  19. ^ Domus : 1928-1939. Fiell, Charlotte, 1965-, Fiell, Peter,, Irace, Fulvio. Köln. ISBN 3836526522. OCLC 929918224.
  20. ^ Design Museum: Gio Ponti Biography
  21. ^ "Gio Ponti". designboom.com. Archived from the original on 6 February 2012. Retrieved 3 November 2011.

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