gio ponti strutture

A block away, in via Dezza, Ponti built a nine-story apartment building, which housed his family. Grattacielo Pirelli, Milano (1956-61), interni. Giò Ponti P.Luigi Nervi, Centro Pirelli 1955/56 A- Strutture di travi, di telai Strutture piastra nervata o piena. Il Palazzo dell'Esposizione Internazionale del Lavoro, meglio noto come Palazzo del Lavoro o Palazzo Nervi, è un edificio ubicato nel quartiere Nizza Millefonti (zona Italia '61), alle porte sud della città di Torino.Fu progettato dall'ingegner Pier Luigi Nervi, con la collaborazione dell'architetto Gio Ponti e di Gino Covre, e completato nel 1961. 1964–1970: Montedoria building, via Pergolesi. 1966: Canopy for the main basilica at the Oropa sanctuary, 1967–1969: Colourful and triangular skyscrapers (. Ponti died on 16 September 1979. Nel 1951, si unì allo studio insieme a Fornaroli, l'architetto Alberto Rosselli[11]. 1952–1958: Italian cultural institute, Carlo Maurillo Lerici Foundation. He then applied this solution to domestic spaces and offices, with "organised walls". 1958–1962: RAS office building, via Santa Sofia. 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. Tipologia: architettura per la residenza, il terziario e i servizi; edificio per abitazioni. At night, a lighting system highlighted its contours. Arrivano la Domus Ioni, la Domus Fausta, la Iulia. 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). Le più importanti opere di Gio Ponti a Milano. 1935–1938: First Montecatini building, via Turati. 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. Over the years, the magazine became more international and played an important role in the evolution of Italian and international design and architecture. 1961: Design of the Mostra internazionale del lavoro, Italia'61. For this complex, he designed two buildings with highly colored profiles, one of which was designed in collaboration with the architect Gigi Gho.[1]. 1964–1967: San Carlo Borromeo hospital church, via San Giusto. [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. 1927–1930: creation of two furniture collections, Il Labirinto and Domus Nova. 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). Dagli anni Cinquanta diviene il proget-tista italiano più noto in campo inter-nazionale, realizzando opere … 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. 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. 1959: Auditorium of the Time-Life Building, Sixth Avenue. AMARE L’ARCHITETTURA, a cura di Maristella Casciato e Fulvio Irace con Margherita Guccione, Salvatore Licitra, Francesca Zanella. 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. At Eurodomus 2 in Turin in 1968, Ponti presented a model of a city, Autilia, for which he imagined a continuous vehicle circulation system. He also planned a film adaptation of Luigi Pirandello's Enrico IV for Louis Jouvet and Anton Giulio Bragaglia. Cassina)[15], realizzata partendo da un oggetto già esistente e di solito prodotto artigianalmente: la Sedia di Chiavari[16], migliorato in materiali e prestazioni. 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. All the materials and the furniture, chosen or designed by Ponti, were shipped from Italy. 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. 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]. Partecipò all'Associazione del Disegno Industriale (ADI) e fu tra i sostenitori del Premio Compasso d'oro, promosso dai magazzini La Rinascente[7]. [8] Construction continued in Milan. 1928: Borletti building, via San Vittore. 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. 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. On this occasion, he made friends with Tony Bouilhet, director of the silversmith company Christofle. Accompagnato da un certificato di autenticità dei Gio Ponti Archives. 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… 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. Lo stesso Gio Ponti, considerava questo progetto uno dei suoi tre capolavori (insieme al grattacielo Pirelli a Milano e la Concattedrale di Taranto). 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). Struttura e gambe in legno imbottiture rivestite in velluto. It was also in the mid 1960s that he befriended art critic Pierre Restany, who became a regular contributor to the Domus magazine. In these years he was influenced by and associated with the Milanese neoclassical Novecento Italiano movement. 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. 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]. [11][12] He completely renewed the iconographic repertoire by freely revisiting the classical tradition. 1933–1938: Case tipiche (typical houses), via Letizia and via del Caravaggio. 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 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. ), 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 è il direttore di Domus, una delle riviste di architettura più importanti a livello internazionale. A similar process was used in 1978 to cover the facade of the Shui Hing department store in Singapore. 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 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. 1961–1964: San Francesco al Fopponino church, via Paolo Giovio. After World War 2, with the emergence of the Italian economic boom, the 1950s were a busy time for Ponti, who traveled abroad. During his career, which spanned six decades, Ponti built more than a hundred buildings in Italy and in the rest of the world. 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 were years of intense activity for Ponti. Questo fondo, il cui materiale progettuale documenta le opere realizzate dal designer milanese dagli anni Venti agli anni Settanta, è pubblico e consultabile. 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. In the 1920s, Ponti began numerous collaborations, notably with the silverware company Christofle, the glassmakers Venini and Fontana Arte. 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). artista verso gli artisti, in Gio Ponti e l’architettura sacra, Silvana Editoriale 2005. 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. [7] In the late 1930s, Ponti deepened his research on Mediterranean housing by collaborating with writer and architect Bernard Rudofsky. 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. 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. His studies were interrupted by his military service during World War I. Ponti died on 16 September 1979. Many models 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). [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. 1960–1964: Tiling for Ceramica d'Agostino. The Hotel Parco dei Principi in Sorrento was one of the first design hotel in Italy. Nervi fu uno dei più grandi ingegneri del suo tempo, specializzato in strutture … 1946: Objects in papier-mâché in collaboration with Enrico and Gaetano Dal Monte. In 1956, they imagined an imaginary and colorful bestiary, light decorative objects such as cut and folded paper. Si è inaugurata il 26 novembre al MAXXI Museo nazionale delle arti del XXI secolo, a Roma, la mostra GIO PONTI. [18] Some of his furniture is now being reissued by Molteni&C. Foliage patterns were developed on tiles for Ceramica D'Agostino. In quegli anni, la sua produzione fu improntata più ai temi classici, mostrandosi più vicino al movimento Novecento, esponente del razionalismo[4]. the chair, which was very strong but also so light that it can be lifted by a child using just one finger. ... su disegno di Armellino&Poggio e la scelta delle posate di Gio Ponti… La Chiesta di San Luca Evangelista, via Ampere 75 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. 1935–1937: Paradiso del Cevedale hotel, Val Martello. 1934: De Bartolomeis villas, Val Seriana. The furniture also became flexible and space-saving in order to optimise space. 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. 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. Finally, he obtained an honorary doctorate from the London Royal College of Art. 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. Assertore di una riforma architettonica e decorativa che si riflette nelle diverse manifestazioni della sua opera versatile di architetto e di decoratore e trova i fondamenti teorici nei suoi scritti e nella direzione della rivista di architettura e di arte decorativa Domus. 1956–1957: Diamond-shaped tiles and ceramic pebbles for Ceramica Joo, Limito. Ponti è stato sia un designer che un architetto che ha creato oggetti che vanno dalle macchine da caffè e sedie alle case e persino alle chiese. At the time of its inauguration, and for a few months, it was the tallest building in Europe. He also rationalized the production system of the pieces while maintaining their high quality of execution. This villa has since been destroyed. 1952: Interior design of the ocean liner Africa for Lloyd Triestino. The pieces were presented at the first decorative arts biennial in Monza in 1923. «Gli italiani sono nati per costruire. Upholstery not original. By removing all ornament, Ponti moved towards formal simplification where he sought to make style and structure coincide. Ponti also presented the work of Charles Eames and of the decorator Piero Fornasetti. Milano è la città dove Gio Ponti realizzò molte delle sue opere. 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. [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 vast hangar was designed as an architecture laboratory, an exhibition space and a space for the presentation of studies and models. [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 Second World War. 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. Fra il 1966 ed il 1968 collaborò con l'impresa di produzione Ceramica Franco Pozzi di Gallarate[senza fonte]. Cento lettere", prefazione di Joseph Rykwert, Rosellina Archinto Editore, Milano, 1987. Finally, that same year, his ultimate decorative and poetic shapes, a bestiary of folded silver leaves, were interpreted by the silversmith Lino Sabattini. 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]. Nel 1952 costituisce con l’architetto Alberto Rosselli lo studio Ponti-Fornaroli-Rosselli[10]. Catalogue essay for the Ponti Exhibition at the Triennale di Milano, May 6 – July 24, 2011 (Milan: Electa, 2011), 35–45. 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]. In pianta, è organizzato a partire … 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. 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. [18] In 1957, the Superleggera chair designed for Cassina, and still produced today, was put on the market. 1944: Sets and costumes for the ballet Festa Romantica by Giuseppe Piccioli. 1961–1963: Facade of the Shui Hing department store, Nathan Road. This small oval building was covered with white and green ceramic tiles, both inside and outside, including the roof. 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". 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. 1978: Objects made from silver leaf in collaboration with Lino Sabattini. Il suo nome ha meritato l'iscrizione al Famedio del medesimo cimitero[13]. 1934: Room "Più leggero dell'aria" ("Lighter than air") at the Esposizione dell’aeronautica italiana, Palazzo dell'Arte. 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. Nel 1934 l'Accademia d'Italia gli conferì il "premio Mussolini" per le arti[8]. Le sue caratteristiche sono perfezione ed equilibrio tra solidità e leggerezza. GIO PONTI Un divano anni '40. 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. Caratteri costruttivi:. 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". Its envelope reflected the surrounding landscape and blended into it, like the shell of a beetle. [16] It was also in 1940 that he began working with the decorator and designer Piero Fornasetti. [21], http://www.archidiap.com/opera/scuola-di-matematica/, "Il pellegrino stanco by Gio Ponti by Salvatore Saponaro | Blouin Art Sales Index", Gio Ponti's works on the Italian public Television – RAI, INA Casa Harrar-Ponti by Gio Ponti in Rome (1951–1955), https://en.wikipedia.org/w/index.php?title=Gio_Ponti&oldid=993653779, Italian military personnel of World War I, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with KULTURNAV identifiers, Wikipedia articles with PLWABN identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, Architectures designed by Ponti photographed by. Marco Romanelli, Licitra Ponti, Lisa (ed. In 1934 he was given the title of "Commander" of the Royal Order of Vasa in Stockholm. Next came the "fitted windows", for the manufacturer Altamira in particular and that he used for his apartment via Dezza. GIO PONTI: il museo MAXXI ne ripercorre l’immensa e appassionata attività, a partire dal settore della progettazione architettonica. Gio Ponti morì a Milano nel 1979: riposa al Cimitero Monumentale[12]. 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. 1970: Apta furniture for Walter Ponti, San Biagio. A sofa 1940's. He was involved in many projects, particularly in his native city of Milan. He then joined forces with engineers Antonio Fornaroli and Eugenio Soncini to form Studio Ponti-Fornaroli-Soncini which lasted until 1945. E’ la 699 Superleggera di Gio Ponti e Cassina, che in questo 2017, compie i suoi primi 60 anni. Laura Conconi, saggio critico di, "Ambrogio Pozzi. Ponti e passerelle dwg, attraversamenti pedonali, download gratuito, vasta scelta di file dwg per tutte le necessità del progettista His daughter Lisa Licitra Ponti soon joined the editorial team. 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. ), spanned two decades.[17]. 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. Wood structure and legs and velvet upholstery. Fu progettata da un collettivo di architetti, guidato da Gio Ponti e Pier Luigi Nervi. La tappezzeria non è originale. 1967: Tableware for Ceramica Franco Pozzi. In 1952, he created a new agency with Antonio Fornaroli and his son-in-law Alberto Rosselli. Visualizza altre idee su Architettura, Architettura moderna, Architetti. 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. Ricordiamo Ponti anche per il progetto della seduta "Superleggera" del 1955 (prod. Modular, it was enlivened thanks to the non-uniform arrangement of its openings with various shapes. Maurizio Boriani, Corinna Morandi, Augusto Rossari. Ponti graduated with a degree in architecture in 1921 from the Politecnico di Milano University. Daniel Sherer, “Gio Ponti in New York: Design, Architecture, and the Strategy of Synthesis,” in Espressioni di Gio Ponti, ed. 1933–1936: Rasini building, bastioni di Porta Venezia. Pirelli di Milano con Gio Ponti, l’Aula delle Udienze in Vaticano), strutture espositive e impianti sportivi, in particolare in con-nessione con le Olimpiadi di Roma del 1960. Ponti also deepened his reflection on the skyscraper with a project of triangular and coloured towers (1967–1969). Sanitari in ceramica per Ideal Standard, circa 1954. The space requirement for furniture and services was reduced to a minimum. 1931–1936: Case tipiche (typical houses), via de Togni. 1934–1935: Domus Adele (Magnaghi and Bassanini building), viale Zugna. 1934–1940: Faculty of the Arts, Il Liviano. In 1971, he participated in the construction of the Denver Art Museum in Colorado, taking care of the building's exterior envelope. 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. Ponti continued to create wall and floor coverings whose graphic rendering becomes a work of art in itself. 1948: Coffee machine La Cornuta for La Pavoni. 1961–1964: Parco dei Principi hotel, via Mercadante. After the death of Alberto Rosselli he continued to work with his longtime partner Antonio Fornaroli. Casa Ponti Milano (MI) Indirizzo: Via Giuseppe Dezza 49 - Milano (MI) (). Altezza cm 106 larghezza 185 profondità 85. Il Palazzo dell’Esposizione Internazionale del Lavoro è una delle più stupefacenti opere architettoniche e strutturali realizzate dall’ingegner Pier Luigi Nervi, con la collaborazione degli architetti Gio Ponti e Gino Covre.Fu inaugurato nel 1961, in occasione delle celebrazioni per il centenario dell’Unità d’Italia che si sono tenute a Torino. - Architetto e designer italiano (Milano 1891 - ivi 1979). 1952: Architecture studio Ponti-Fornaroli-Rosselli, via Dezza. 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. 1955–1960: San Luca Evangelista church, via Vallazze. 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. 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. 1935–1936: Interior design and furnishing of the Italian cultural institute, Lützow-Fürstenberg Palace. 1964: Scarabeo sotto una foglia (Beetle under a leaf), villa Anguissola, Lido di Camaiore. 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. 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. [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. 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. G. Celant. [9] Facing Milan's main station, this 31-story, 127-meter-high (417 ft) skyscraper housed the headquarters of Pirelli, a company specializing in tyres and rubber products.

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