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. Omissions? All the materials and the furniture, chosen or designed by Ponti, were shipped from Italy. He also founded the Labirinto group, with Tomaso Buzzi, Pietro Chiesa and Paolo Venini, among others. He designed a considerable number of decorative art and design objects as well as furniture. The fifth Triennale also celebrated mural painting and the integration of architecture and decoration with works by Sironi, Giorgio de Chirico, Massimo Campigli, Lucio Fontana, Fausto Melotti, Marcello Nizzoli and Mario Radice. By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica. He also planned a film adaptation of Luigi Pirandello's Enrico IV for Louis Jouvet and Anton Giulio Bragaglia. Ponti continued to create wall and floor coverings whose graphic rendering becomes a work of art in itself. In 1941, when even in the domain of culture it had become necessary to take up a position in the face of fascism and war, Pagano referred to him in his editorial of the January edition of Casabella-Costruzioni, probing the limits of the designer’s insatiable curiosity. From 1923 to 1938 he did industrial design for the Richard-Ginori pottery factory. “Love it for its fantastic, adventurous and solemn creations; for its inventions; for the abstract, allusive and figurative forms that enchant our spirit and enrapture our thoughts. [1] With its vertical and horizontal frames through which shelves, bookcases and frames can be arranged, the "fitted window" became the fourth transparent wall of a room and ensured a transition between the inside and the outside. This was the source for the many neoclassical elements (niches, urns, trabeations, gables, denticulations, aedicules) which appeared in an almost ironic manner on the façades and determined the spirit of “vivacious light-heartedness of a decorator” identified by Ferdinando Reggiori in the figure of Ponti in the 1920s. Love architecture, the stage and support of our lives. 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. He created over 250 pieces of furniture, machines, lamps, ceramics, textiles, tiles, glassware and metal objects. 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. 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. Our latest podcast episode features popular TED speaker Mara Mintzer. Reputations, Italian architect and founder and director of Domus, Gio Ponti will be remembered for his attention to surface and urge towards simplicity in the relation of structure to form, Gio-ponti-reputations-architectural-review. His research on ‘self-illuminating’ architecture began with the Villa Planchart in Caracas, Venezuela, continued with the Pirelli, and found its articulation in furniture pieces such as the Positivo-Negativo and lamp designs, producing different kinds of light and unseen shadows. Its envelope reflected the surrounding landscape and blended into it, like the shell of a beetle. After the death of Alberto Rosselli he continued to work with his longtime partner Antonio Fornaroli. Born and educated in Milan, the young Ponti harboured ambitions to become an artist, but instead enrolled in architecture at the Milan Polytechnic in 1913, completing his studies in 1921 after serving in the war. With the church of San Francesco al Fopponino in Milan (1961–1964), he created his first façade with perforated hexagonal openings. 1933–1938: Case tipiche (typical houses), via Letizia and via del Caravaggio. 1934–1935: Domus Adele (Magnaghi and Bassanini building), viale Zugna. By using our site, you agree to our use of cookies. The work of Italian architect and designer Gio Ponti is the focus of a major exhibition at the Musée des Arts Décoratifs in Paris. 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. He set a new trend in the field of industrial design by decorating simple ceramic forms with elegant neo-classical motifs and due to his efforts and great contributions the company made remarkable progress from 1923 to 1930. 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). Along with these innovations were the exterior marble slabs, cut against ‘the vein’ to achieve an effect known as ‘Tempesta’ and the mass production of bespoke furniture designed for the project, from desks to washbasins. 1938: Design of the "Mostra della Vittoria", Fiera di Padova. In addition to all of this, between 1936 and 1961, Ponti was a professor in the Architecture department at the Politecnico di Milano. Since 1896, The Architectural Review has scoured the globe for architecture that challenges and inspires. 807, and rare footstool, ca. The works from this initial phase of Ponti’s professional life, which was heavily influenced by his ties with the members of “Novecento” (among others, Massimo Bontempelli and Giovanni Muzio), include the items of furniture from the series “Domus Nova”, which were produced for the department store “La Rinascente” (1927), the artistic glass for Christofle and Venini, the Bouilhet villa in Garches (1925-1926) and the iconic Casa in Via Randaccio (1924-1926), the first of four homes which he built and lived in with his family and a clear attempt, partially disowned by Ponti himself in the 1950s, to renovate architecture through a return to the humanist matrix, inspired – according to Ponti – by the “enormous impression made on me during my time spent during the war, while on leave from the front, in buildings from the Palladio period, with the possibility of examining them as much as possible”.

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