gio ponti design

Capitale Sociale € 15.975.422,00 REA N. 1311974 CCIAA di Monza e Brianza Ufficio del Registro Imprese di Monza e Brianza Partita IVA 00976180968 Società con Socio Unico. Ihr Standard-Konto ist bereits aktiv! In the 1950s, and thanks to his role in the Domus Magazine, Ponti was internationally known and commissions were multiplying, with constructions in Venezuela, Sweden, Iraq and projects in Brazil. Gio Ponti Design . [18] Some of his furniture is now being reissued by Molteni&C. Diese Technologien nutzen wir außerdem um Ergebnisse zu messen, um zu verstehen, woher unsere Besucher kommen oder um unsere Website weiter zu entwickeln. While his focus would later shift towards a more austere, rational Modernism, erasing the ornamental from his designs, his infatuation with classicism was the driving force of the beginning of his career in the twenties and a lasting element in his work. In these years he was influenced by and associated with the Milanese neoclassical Novecento Italiano movement. MILAN — It was quite a career. His involvement with the Milan Triennial was of great significance. His notion of true Italian living strove for peace and serenity, his work drawing inspiration from the richness of Italian heritage. 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. Als sein berühmtestes Möbel gilt der Stuhl Superleggera, welcher heute noch von Cassina produziert wird. Ponti emphasized the importance of comfort in a home, stemming not from the fulfillment of functional needs, but from a more abstract place. 1935–1936: Laporte house, via Benedetto Brin. It was symbolized by the hexagonal shape of the diamond that Ponti used in many of his creations. [7] In the late 1930s, Ponti deepened his research on Mediterranean housing by collaborating with writer and architect Bernard Rudofsky. Ponti also presented the work of Charles Eames and of the decorator Piero Fornasetti. 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. 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. It was his approach in incorporating tradition into innovation and merging craftsmanship with mass production which ultimately earned him critical acclaim. : Stam, Saarinen, Colombo und Mendini - bahnbrechende Löwen der Designgeschichte. During his career, which spanned six decades, Ponti built more than a hundred buildings in Italy and in the rest of the world. Interestingly, the exhibition opens with the final stage of his career, in a museum which celebrates his beginnings – the decorative arts. Ponti graduated with a degree in architecture in 1921 from the Politecnico di Milano University. 1963: Continuum armchair for Pierantonio Bonacina, Lurago d'Erba, 1967: The Los Angeles Cathedral, sculpture. BE THE FIRST TO RECEIVE NEWS, TRENDS AND SPECIAL SALE & DEALS! With the construction of the Borletti funeral chapel in 1931, he started to adopt a modernist shift. 1952: Interior design of the ocean liner Africa for Lloyd Triestino. The ten "case tipiche" (typical houses), built in Milan between 1931 and 1938, were also close to Rationalist Modernism while retaining features of Mediterranean houses like balconies, terraces, loggias and pergolas. Father of the design made in Italy, Gio Ponti is the greatest exponent of Italian rationalism: through his constant architectural search one can find an extreme synthesis and formal balance in all his works. 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. e P.IVA 02166860037Reg. Marco Romanelli, Licitra Ponti, Lisa (ed. It defined his philosophy, while he redefined Italian design. Kostenloser Versand innerhalb Deutschlands. This villa has since been destroyed. However, despite being an architect by profession, it was not his architectural work that marked this decade of his career. He used it as a platform for expressing his ideas and views on all things design. 1948: Coffee machine La Cornuta for La Pavoni. Dieser Stuhl war über 50 Jahre lang mit 1,7 Kilo der leichteste Stuhl der Welt. A block away, in via Dezza, Ponti built a nine-story apartment building, which housed his family. 1934: Room "Più leggero dell'aria" ("Lighter than air") at the Esposizione dell’aeronautica italiana, Palazzo dell'Arte. Er gestaltete die verschiedensten Objekte vom Besteck bis zum Wolkenkratzer. At night, a lighting system highlighted its contours. The Labirinto unique piece furniture was made of luxurious materials; at the same time, he designed Domus Nova with Emilio Lancia, a furniture collection with simple lines that was produced in series and sold by the Milanese department store La Rinascente. 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. Along with the development of the times, it resulted in a very different aesthetic to his early work. Bekannte Werke des Multitalents sind etwa die von La Pavoni hergestellte Espressomaschine La Cornuta oder das gemeinsam mit dem Bauingenieur Pier Luigi Nervi entworfene 34-stöckige Pirelli-Hochhaus in seiner Heimatstadt Mailand. Direzione e coordinamento di Haworth Italy Holding S.r.l. Zu den bedeutendsten frühen Werken des Lombarden zählt das 1926 gemeinsam mit Emilio Lancia entworfene experimentelle Wohnhaus „Casa Ponti“. Giovanni (Gio) Ponti wurde 1891 in Mailand geboren und studierte Architektur am Polytechnikum. 1953: Furniture and organized walls for Altamira, 1956: Enameled cooper objects and animals in collaboration with. Ponti also deepened his reflection on the skyscraper with a project of triangular and coloured towers (1967–1969). Three years later he presented his furniture at the exposition. EN. Spacious, equipped and built with modern materials, they met the requirements of the new Milanese bourgeoisie. Ponti studierte – unterbrochen durch den Ersten Weltkrieg – von 1913 bis 1921 Architektur am Politecnico di Milano. Named after the Latin word for house, Domus aimed to define the qualities of modern living and provide an insight into new trends, exploring the characteristics of the Italian style. 1933–1936: Rasini building, bastioni di Porta Venezia. It was architecture and design related magazine which focused mainly on interior design and proved to be the most influential magazine of Europe. 1957–1959: Carmelite convent, Bonmoschetto. 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. In 1970, he presented his Sedia di poco sedile or small-seated armchair, in which he utilizes steel for the frame. Primarily in his homeland and later, the world. Besides his famous furniture designs of this period, Ponti’s work with Venini, a Murano glass manufacturer and influential advocate of modern design, is also worth noting. Darüber hinaus übte er von 1936 bis 1961 eine Lehrtätigkeit als Professor am Politecnico di Milano aus. 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 1927 he founded Il Labirinto with Lancia, Buzzi, Marelli, Venini and Chiesa in order to produce high-quality furniture and objects. He designed a considerable number of decorative art and design objects as well as furniture. In 1928, Ponti founded Domus Magazine. For this complex, he designed two buildings with highly colored profiles, one of which was designed in collaboration with the architect Gigi Gho.[1]. He also rationalized the production system of the pieces while maintaining their high quality of execution. At the turn of the 1950s, Ponti deployed a prolific creation where he sought to combine aesthetic and functional requirements: the espresso machine for La Pavoni in 1948 and the Visetta sewing machine for Visa (1949), 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. From 1923 to 1930 he has been Richard Ginori’s artistic director. By this time, the focus of his classical inspiration had shifted from ornament to the fundamental principles of mass and proportion. Architect, designer, writer, editor – Gio Ponti has been called the “Godfather” of Italian design. 1964–1967: San Carlo Borromeo hospital church, via San Giusto. 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. He saw his facades as folded and perforated sheets of paper with geometric shapes. Next came the "fitted windows", for the manufacturer Altamira in particular and that he used for his apartment via Dezza. Thanks to the creation of Domus magazine in 1928 (which he presided over almost constantly until his death), Ponti made an intensive contribution to the renewal of the Italian production in the sector, giving it new impetus. 1946: Objects in papier-mâché in collaboration with Enrico and Gaetano Dal Monte. Lit from behind, the facade turned into a bright screen at night. The sky and light became important protagonists of his architecture. In Harmonie: Ein Besuch bei Martin Holzapfel, Ausstellung: German Design Graduates: Eine neue Ausstellung stellt die nächste Design-Generation vor, Cozy Chic: An Interview with Interior Designer Meta Coleman, Elegant Specimens: Pamono, Farrow & Ball, Bocci, and Bergamotte celebrate design inspired by nature, Zurück in die Zukunft: Sophie Rowley erforscht Materialität, Nachhaltigkeit und den Geist des Designs, Mid-Century Modern und Mad Men: Wir werfen einen Blick auf die besten Vintage Schreibtische und Spielarten des modernen Mid-Century-Stils, Gut gebrüllt, Löwe! Upon finishing his architectural studies at the prestigious Politecnico di Milano in 1921, he set up a studio with two of his colleagues. The Superleggera chair is the embodiment of a stripped back craftsmanship of a new, industrial age in design. [6] Ponti chose bright and functional spaces with simple lines, including a fan-shaped building that housed three amphitheaters. Um 1933 schloss er sich mit den Ingenieuren Antonio Fornaroli und Eugenio Soncini zusammen, um das Ponti-Fornaroli-Soncini Studio zu bilden, das eindeutig für Moderne stand und bis 1945 existierte. [20] In 1948 he returned to Domus, where he remained as editor until his death. 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. With his prolific and extraordinarily diverse oeuvre he left a lasting mark on the development of twentieth century architecture and design. [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. The Plancharts commissioned Gio Ponti to design their home, on top of a cerro overlooking Caracas. The bottles evoke stylized female bodies. Markanto verwendet Cookies und Targeting Technologien um Ihnen ein besseres Internet-Erlebnis zu ermöglichen. The construction of the Rasini building (1933–1936) with its flat roofs marked the end of his partnership with Emilio Lancia around 1933. 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. Shop Tische, Sitzmöbel, Verstaumöbel und mehr aus unsere Vintage- und Contemporary Kollektion, Shop Lampen, Wandleuchten, Pendelleuchten und Kronleuchter aus dem frühen 20. Arguably his most famous building is the Pirelli Tower, built between 1956 and 1958, which he designed with renowned engineer Pier Luigi Nervi. Learn how your comment data is processed. While working at Richard-Ginori, Ponti also founded the magazine Domus in 1928. In 1971, he participated in the construction of the Denver Art Museum in Colorado, taking care of the building's exterior envelope. [8] Construction continued in Milan. 1960–1964: Tiling for Ceramica d'Agostino. 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). ), spanned two decades.[17]. Indeed, Ponti’s later work remains some of his most famous, but it was his early love of classicism that provided the fundamental basis for his entire career, making his beginnings the most influential. As a designer, Gio Ponti worked for 120 companies. Ponti also offered to Domus readers detailed plans of a circular house called Il scarabeo sotto la foglia (1964– The beetle under a leaf). The pieces were presented at the first decorative arts biennial in Monza in 1923. 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. They were used for the interior decoration of the hotels Parco dei Principi in Sorrento (1960) and in Rome (19611964). Haben Sie es eilig? At the beginning of 2019, a wood reconstruction of the Cathedral’s facade inaugurated the first retrospective exhibition of Gio Ponti at the Musée des Arts Décoratifs in Paris. The art historian Nathan Shapira, his student and disciple, organised that same year, with the help of Ponti, his first retrospective exhibition which travelled the United States for two years. However, it was arguably his omnipresence on the design scene which ultimately spread his talents too thin. He also planned a film adaptation of Luigi Pirandello's Enrico IV for Louis Jouvet and Anton Giulio Bragaglia. 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. Please note, the content you want is not available for your country. Finally, that same year, his ultimate decorative and poetic shapes, a bestiary of folded silver leaves, were interpreted by the silversmith Lino Sabattini. He was undoubtedly one of the most influential Italian architects and designers of the 20th century, … At Sambonet we believe in style, in quality and in the beauty of our cutlery. The result is a very functional tray made of a single stainless steel sheet folded on itself, cut and shaped to contain and serve at once. Designed in reinforced concrete, it possesses an unusual lightness, emphasized by geometric shapes resembling a paper cut-out. Ponti gilt als einer der bedeutendsten Vertreter der Moderne in Italien und war nicht zuletzt auch durch seine Herausgebertätigkeit tonangebend. The biennial exposition in Monza became the Milan Triennial in 1933. He then joined forces with engineers Antonio Fornaroli and Eugenio Soncini to form Studio Ponti-Fornaroli-Soncini which lasted until 1945. Each Sambonet item, cutlery or hollow ware, is a unique project, built on history, research, development, and, just like a work of art, on originality. It was also in the mid 1960s that he befriended art critic Pierre Restany, who became a regular contributor to the Domus magazine.

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