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Gio Ponti, the father of Italian industrial design

Giovanni Ponti (1881-1979), known as "Gio" Ponti, was a major figure in Italian and international design in the 20th century. It is difficult to sum up his...

Design MarketFebruary 2020
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Giovanni Ponti (1881-1979), known as "Gio" Ponti, was a major figure in Italian and international design in the 20th century. It is difficult to sum up such a long career in just a few lines, since from the 1920s to the end of the 1970s, this original and eclectic personality was at once a renowned architect, an interior decorator, one of the first to bring design into the industrial era, a teacher who trained several generations of designers, an organiser of major events and a respected author. Like his compatriot Joe Colombo , Ponti was a workaholic and a relentless creator. To understand the considerable influence that Gio Ponti exerted on his contemporaries, it is first necessary to note that the man was a central figure in Italian artistic and institutional life in the twentieth century. In addition to his own work, he was the editor of the magazine Lo Stile , considered by many to be the Bible of architecture and design, which he continued to direct until his death, except for a short period during which he contributed to the magazine Lo Stile . He was heavily involved in the development of the Italian furniture industry in the post-war period, and his work was rewarded with the "Made in Italy" award. The prize still exists today, and has been awarded to some of the greatest names in design, including Ettore Sottsass, Vico Magistretti, Konstantin Grcic and Philippe Starck . Another feat that placed this Italian designer at the heart of his country's architectural ecosystem was his appointment in 1925 to head the Monza Biennale, one of the first international events devoted to the decorative arts. Under his impetus, the Monza Biennial became a Triennial in 1933, to be held from then on in Milan, the capital of design. The 22nd edition of this not-to-be-missed event will take place from 1 March to 1 September 2019. As an architect, Gio Ponti made a name for himself in 1925 with his own house in via Randaccio in Milan, followed by the Ange Volant Ange Volant country house in Garches (France), his first foreign commission. The architect used neoclassical language. The style is academic, recognisable for example in the Via Randaccio facade, decorated with obelisks, or in the Palladian character of the Ange Volant... l'Ange Volant... Gio Ponti's private house, Via Randaccio, Milan (1924-1926). Gio Ponti's private house, via Randaccio, Milan (1924-1926). Gio Ponti's private house, via Randaccio, Milan (1924-1926). Villa Bouilhet or House of the Flying Angel, Garches. Architect: Gio Ponti, 1926. This Palladian-style house was built for Tony Bouilhet, director of the Christofle brand at the time. It was Gio Ponti who gave this family home the name "The Flying Angel", in reference to Carla Borletti, Tony Bouihet's wife and Gio Ponti's niece by marriage (through his Milanese wife Giulia Vimercati). The Villa Bouilhet or House of the Flying Angel, Garches. Architect: Gio Ponti, 1926. This Palladian-style house was built for Tony Bouilhet, director of the Christofle brand at the time. It was Gio Ponti who gave this family home the name "The Flying Angel", in reference to Carla Borletti, Tony Bouihet's wife and Gio Ponti's niece by marriage (through his Milanese wife Giulia Vimercati). The Villa Bouilhet or House of the Flying Angel, Garches. Architect: Gio Ponti, 1926. This Palladian-style house was built for Tony Bouilhet, director of the Christofle brand at the time. It was Gio Ponti who gave this family home the name "L'Ange Volant", in reference to Carla Borletti, Tony Bouihet's wife and Gio Ponti's niece by marriage (through his Milanese wife Giulia Vimercati). Maison de l'Ange Volant, Garches, interior view. Maison de l'Ange Volant, Garches, interior view. House of the Flying Angel, Garches, interior view. Considered one of the masters of Italian architecture, Gio Ponti gradually abandoned the neoclassical style in favour of modern housing design. His most emblematic achievement is the Pirelli Tower or skyscraper (Torre Pirelli), built between 1956 and 1960 in Milan in collaboration with the engineer Pier Luigi Nervi. It illustrates the architect's obsession with the perfect form, which he conceptualised as a "finished" shape, symbolised by the crystal. The architecture of the Milanese building does not allow for additions or modifications. Considered one of the masters of Italian architecture, Gio Ponti gradually abandoned the neoclassical style in order to think about and design modern housing. His most emblematic achievement is the Pirelli Tower or skyscraper (Torre Pirelli), built between 1956 and 1960 in Milan in collaboration with the engineer Pier Luigi Nervi. It illustrates the architect's obsession with the perfect form, which he conceptualised as a "finished" shape, symbolised by the crystal. The architecture of the Milanese building allows for no additions and/or modifications. Pirelli Tower, 1956-1960, Milan. Architects: Gio Ponti, Alberto Rosselli, Antonio Fornaroli and Luigi Nervi. Pirelli Tower, 1956-1960, Milan. Architects: Gio Ponti, Alberto Rosselli, Antonio Fornaroli and Luigi Nervi: Gio Ponti, Alberto Rosselli, Antonio Fornaroli and Luigi Nervi. Pirelli Tower, 1956-1960, Milan. Architects: Gio Ponti, Alberto Rosselli, Antonio Fornaroli and Luigi Nervi: Gio Ponti, Alberto Rosselli, Antonio Fornaroli and Luigi Nervi. Alongside his career as an architect, the Italian maestro was to initiate the culture of design in Italy from the 20s and 30s onwards. His career was punctuated by almost 1,000 design projects: chairs, tables, sofas, lighting, domestic appliances, furniture and sanitary installations for Cassina, Artemide, Frau and Ideal Standard... But the most remarkable thing is that he is rightly regarded by many as the father of Italian industrial design. In 1923, Gio Ponti became artistic director of the Richard Ginori porcelain factory, which marked the revival of Italian artistic ceramics. Convinced of the need to reconcile artistic craftsmanship and industry - in line with the teachings of the Bauhaus at the same time - Gio Ponti took the Manufactory from the artisanal era to mass production. To this end, he renewed the entire production process, and in particular created the Grandi Pezzi d'Arte Destinati alle Collezzioni e ai musei collection (Large pieces of art for collectors and museums). Gio Ponti and Libero Andreotti, La Conversazione Classica, collection Grandi Pezzi d'Arte Destinati alle Collezzioni e ai musei, majolica porcelain, Manufacture Richard Ginori, 1927 Gio Ponti and Libero Andreotti, La Conversazione Classica, collection Grandi Pezzi d'Arte Destinati alle Collezzioni e ai musei, majolica porcelain, Manufacture Richard Ginori, 1927 Gio Ponti and Libero Andreotti, La Conversazione Classica, collection Grandi Pezzi d'Arte Destinati alle Collezzioni e ai musei, majolica porcelain, Manufacture Richard Ginori, 1927 Gio Ponti, Prospettica majolica vase, collection Grandi Pezzi d'Arte Destinati alle Collezzioni e ai musei, Manufacture Richard Ginori, 1926. collection Grandi Pezzi d'Arte Destinati alle Collezzioni e ai musei, Manufacture Richard Ginori, 1926. Gio Ponti knew how to do everything with talent. In 1933, he designed for Fontana Arte, a subsidiary of the Luigi Fontana company of which he had become artistic director in 1931, a luminaire that also took the form of a floor lamp. Horizontal discs of transparent tempered glass form an elegant, timeless sphere. In a completely different style, also for FontanaArte, a year earlier he had designed the Bilia lamp, based on a kind of geometric obelisk, a shape he was particularly fond of. Suspension lamp 0024, design by Gio Ponti, for FontanaArte, 1933. The suspension lamp is still in the Italian publisher's catalogue. Suspension lamp 0024, design by Gio Ponti, for FontanaArte, 1933. The suspension lamp is still listed in the Italian publisher's catalogue. Suspension lamp 0024, design by Gio Ponti, for FontanaArte, 1933. The suspension lamp is still listed in the Italian publisher's catalogue. Bilia lamp, designed by Gio Ponti for FontanaArte, 1932. The Bilia, like the Suspension 0024, is still part of the Italian publisher's catalogue. Bilia lamp, designed by Gio Ponti for FontanaArte, 1932. The Bilia, like the Suspension 0024, is still part of the Italian publisher's catalogue. Bilia lamp, designed by Gio Ponti for FontanaArte, 1932. The Bilia, like the Suspension 0024, is still part of the Italian publisher's catalogue. In 1948, Gio Ponti turned the Italian coffee machine on its head. At the request of the Italian manufacturer La Pavoni, he created an espresso machine with a unique style. With the help of designers Antonio Fornaroli and Alberto Rosseli, he designed the boiler system that heats water under pressure, with the body of the machine designed horizontally - a first. The industrial-inspired design emphasises the curved lines of the machine, which boasts superb chrome-plated stainless steel dispensers. La Cornuta (The Horn) was born, and became the symbol of Italian Dolce Vita. La Cornuta espresso machine, designed by Gio Ponti for La Pavoni, 1948. La Cornuta espresso machine, designed by Gio Ponti for La Pavoni, 1948. La Cornuta espresso machine, designed by Gio Ponti for La Pavoni, 1948. La Cornuta espresso machine, gleaming chrome for a sleek design that has become a cult item... La Cornuta espresso machine, gleaming chrome for a sleek design that has become a cult item... La Cornuta espresso machine, gleaming chrome for a sleek design that has become a cult item... Lastly, we can't talk about the design genius Gio Ponti without mentioning the 699 Superleggera chair designed for Cassina in 1957. In his search for a seat that was both light and robust, and compatible with mass production, Gio Ponti pulled off a master stroke. His chair, weighing just 1.7 kg, was designed without screws or nails, all the parts fitting together. 699 Superleggera chair, designed by Gio Ponti for Cassina, 1957. 699 Superleggera chair, designed by Gio Ponti for Cassina, 1957. 699 Superleggera chair, designed by Gio Ponti for Cassina, 1957. The very slim, triangular-section legs of the seat illustrate Gio Ponti's ongoing taste for experimentation and his search for a balance between lightness and weight. His design is deeply marked by this quest, between complexity and simplicity, tension and relaxation, and the past and the future. Still produced by Cassina, with a limited edition released in 2016, the 699 Superleggera has become an icon of modern design. Today, most of the furniture created by Gio Ponti is faithfully remade and reissued by the Italian publisher Molteni et C. The very slim, triangular-section legs of the seat illustrate Gio Ponti's ongoing taste for experimentation, and his search for a balance between lightness and weight. His design is deeply marked by this quest, between complexity and simplicity, tension and relaxation, and the past and the future. Still produced by Cassina, with a limited edition released in 2016, the 699 Superleggera has become an icon of modern design. Today, most of the furniture created by Gio Ponti is faithfully remade and reissued by the Italian publisher Molteni et C. 699 Superleggera chair, Limited Edition 2016 at Cassina. The new version of the chair is revisited with the Boxblocks fabric designed by Dutch artist Bertjan Pot. 699 Superleggera chair, Limited Edition 2016 by Cassina. The new version of the chair is revisited with the Boxblocks fabric designed by Dutch artist Bertjan Pot. 699 Superleggera chair, Limited Edition 2016 by Cassina. The new version of the chair is revisited with the Boxblocks fabric designed by Dutch artist Bertjan Pot. François Boutard François Boutard François Boutard

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