gio ponti opere

1931 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. A similar process was used in 1978 to cover the facade of the Shui Hing department store in Singapore. Spacious, equipped and built with modern materials, they met the requirements of the new Milanese bourgeoisie. per quanto riguarda le opere d'arte originali che rende disponibili attraverso i Servizi, è il creatore e/o autore di tutte queste Opere d'arte originali ed è il solo ed esclusivo proprietario delle Opere d'arte e … Asta 147 / Lotto 207: GIO. Gio Ponti, promotore dell’industrial design italiano, propone la produzione in serie nell’arredo d’interni come soluzione “sofisticata”, economica, “democratica” e moderna. 1929-1931 [3] From 1936 to 1961, he taught at the Milan Polytechnic School and trained several generations of designers. This concept applied to architecture as well as art and design. 1932–1935: School of Mathematics, University campus la Sapienza. - Milano, Mobili per "Il Labirinto" 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. 1932–1936: ItalCima chocolate factory, via Crespi. 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 the beginning of his career, Ponti promoted Italian creation in all its aspects. 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. [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. At Eurodomus 2 in Turin in 1968, Ponti presented a model of a city, Autilia, for which he imagined a continuous vehicle circulation system. At night, a lighting system highlighted its contours. 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. 1929 1951: Interior design of the ocean liner Oceania for Lloyd Triestino. The Hotel Parco dei Principi in Sorrento was one of the first design hotel in Italy. Venduto a € 42.000 + d.a. E' una banca dati, ... Opere di pittura 1920 - 1970 Mobili vari anni … 1952: Interior design of the ocean liner Africa for Lloyd Triestino. 1933–1936: Rasini building, bastioni di Porta Venezia. - Milano, Partecipazione al concorso per il Piano Regolatore di Milano "Forma Urbis Mediolani" 1967: Tableware for Ceramica Franco Pozzi. 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. 1928 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. 1931 1928 - Milano, Ristorante "La Penna D'oca" [18] Some of his furniture is now being reissued by Molteni&C. [18] In 1957, the Superleggera chair designed for Cassina, and still produced today, was put on the market. - Venezia, Disegni per ricami su seta per la Scuola di Cernobbio 1920, Illustrazione de "La ballata del carcere di Reading" di Oscar Wilde Giovanni Ponti, meglio noto come Gio Ponti, nasce a Milano il 18 novembre 1891 e, dopo il liceo classico, nel 1913, si iscrive alla Facoltà di Architettura del Politecnico di Milano. ), spanned two decades.[17]. From 1936 to 1961 he worked as a professor on the permanent staff of the Faculty of Architecture at Politecnico di Milano University. [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. 1957–1959: Carmelite convent, Bonmoschetto. 1928: Borletti building, via San Vittore. He also founded the Labirinto group, with Tomaso Buzzi, Pietro Chiesa and Paolo Venini, among others. [15], In the 1940s and early 1950s, Ponti turned to unique creations showcasing the skills of exceptional craftsmen. 1938–1949: Columbus clinic, via Buonarotti. 1928 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). [6] Ponti chose bright and functional spaces with simple lines, including a fan-shaped building that housed three amphitheaters. 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. Nato a Milano il 18 novembre 1891, Gio Ponti è oggi considerato uno dei maestri dell’architettura e del design italiano. 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. [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. 1950–1960: Textiles for Jsa, Busto Arsizio, 1951: Display of a standard hotel room for the IXth. Gio Ponti Architetto, designer e artista, Gio Ponti (Milano 1891-1979) si laurea a Milano nel 1921 e si associa inizialmente con Emilio Lancia e Mino Fiocchi dal 1927 al 1933. In 1925, Ponti participated in the International Exhibition of Modern Decorative and Industrial Arts in Paris, with the porcelain manufacturer. Giò PONTI (1891-1979) è un artista nato nel 1891. 1926 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. With the artist and enameller Paolo De Poli, they created enamelled panels and brightly colored furniture. 1928 [19] The aim of this review was to document all forms of artistic expression in order to stimulate creation through an independent critical perspective. sul suo lavoro nel campo dell'architettura, … - Milano, Mobili per Studio L’Officina The construction of the Rasini building (1933–1936) with its flat roofs marked the end of his partnership with Emilio Lancia around 1933. - Milano, Cappella Borletti al Cimitero Monumentale Scopo di “Gio Ponti Archives” è amministrare e accrescere la banca dati riferita a Gio Ponti, mettendo in relazione informazioni e materiali di diversa natura, proprietà, origine. 1927 1928 1961–1963: Facade of the Shui Hing department store, Nathan Road. 1931, “Case Tipiche”: Domus Julia, Domus Carola e Domus Fausta in Via De Togni - Milano, Casa in Via Domenichino - Milano, Stabilimento Italcima all’angolo tra Via Crespi e Via Legnone Ponti fu un poliedrico architetto, costumista teatrale, ceramista, pittore mancato, professore di architettura e inesauribile designer (sue, le note “Visetta” e “Superleggera“). The Gabriela chair (1971) with a reduced seat, as well as the Apta furniture series (1970) for Walter Ponti, illustrated this new way of life. Pónti, Giovanni (detto Giò Ponti, Giovanni). 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. 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). 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). - Levanto (Genova), Partecipazione alla costruzione del Monumento ai Caduti in Piazza Sant’Ambrogio [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. La prima aggiudicazione registrata sul sito è un/a oggetti del 1986 da Christie's , e la più recente un/a disegno acquarello del 2020. 1926, Oggetti in peltro ed argento per Christofle (inizio della collaborazione) 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. Nella rivista hanno spazio non solo le opere architettoniche, ma anche quelle di design e le opere d’arte. 1929 During the early 1930s, Gio Ponti and Piero Fornasetti started a long, productive, and somewhat formulaic collaboration, as it mostly consisted of Ponti-designed furniture decorated with Fornasetti … - Levanto (Genova), 1931 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. - Milano, Progetto per una casa d'abitazione in città Ponti also deepened his reflection on the skyscraper with a project of triangular and coloured towers (1967–1969). After the death of Alberto Rosselli he continued to work with his longtime partner Antonio Fornaroli. This small oval building was covered with white and green ceramic tiles, both inside and outside, including the roof. 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". 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. Visualizza altre idee su gio ponti, divani vintage, famous architects. Assertore di una riforma architettonica e decorativa che si riflette nelle diverse manifestazioni della … 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. - Oropa, Illustrazione di "La casa della cortigiana" di Oscar Wilde He then applied this solution to domestic spaces and offices, with "organised walls". Tratti distintivo del design di Gio Ponti, la pulizia formale di ogni progetto, la visione integrale e contestualizzata di ogni soluzione arredativa e da un … Industrial design: 1923 Ceramiche e porcellane per Richard-Ginori; 1927 Oggetti in peltro ed argento per Christofle; 1930 Grandi pezzi in … He was involved in many projects, particularly in his native city of Milan. Ponti died on 16 September 1979. He also planned a film adaptation of Luigi Pirandello's Enrico IV for Louis Jouvet and Anton Giulio Bragaglia. 1930, Fontana Arte (inizio della collaborazione) 1966: Canopy for the main basilica at the Oropa sanctuary, 1967–1969: Colourful and triangular skyscrapers (. - Milano, Taverna Ferrario a Palazzo Mezzanotte - Varedo (Milano), Illustrazione di "La casa della cortigiana" di Oscar Wilde, Illustrazione de "La ballata del carcere di Reading" di Oscar Wilde, Ceramiche e porcellane per Richard-Ginori, Manifattura di Doccia, Sesto Fiorentino (Firenze) e San Cristoforo (Milano), Villa Bouilhet "L' ange volant" a Garches, Parigi, Francia, Concorso per l’arredamento di una Ambasciata Italiana, Oggetti in peltro ed argento per Christofle (inizio della collaborazione), Vestibolo a "Le salette" a La Rinascente-Domus Nova, Padiglione dell’Industria Grafica e Libraria alla Fiera Campionaria, Partecipazione al concorso per il Piano Regolatore di Milano "Forma Urbis Mediolani", Stand della Richard Ginori alla Fiera Campionaria, Partecipazione alla costruzione del Monumento ai Caduti in Piazza Sant’Ambrogio, Sistemazione della “Rotonda” del Padiglione Italiano alla 16° Biennale di Venezia, Disegni per ricami su seta per la Scuola di Cernobbio, Negozio del parrucchiere Malagoli in Piazza Virgilio, Cappella Borletti al Cimitero Monumentale, Disegni per stoffe stampate per De Angeli-Frua, Fontana Arte (inizio della collaborazione), Grande tavolo in alluminio presentato alla 4° Triennale di Monza, Arredamento per una cabina di lusso su un transatlantico per la IV Triennale di Monza, “Casa delle vacanze” alla quarta Triennale di Monza, Tessuti per Vittorio Ferrari (inizio della collaborazione), Posate ed altri oggetti per Krupp Italiana (Inizio della collaborazione), Tre librerie per le Opera Omnia di D’Annunzio, Banca Unione sede centrale (poi Barclays Castellini) in Via S.ta Maria Segreta, Progetto per una casa d'abitazione in città, “Case Tipiche”: Domus Julia, Domus Carola e Domus Fausta in Via De Togni, Stabilimento Italcima all’angolo tra Via Crespi e Via Legnone. 1931, Tre librerie per le Opera Omnia di D’Annunzio Al MAXXI di Roma la mostra intitolata a Gio Ponti, architetto e designer. GIO PONTI (1891-1979) AND TOMMASO BUZZI (1900-1981) A Glazed and Parcel-Gilt Ceramic Three-Part Centerpiece 'Trionfo da Tavola', 1926-27 comprising Italia, Delfino con bimbo and Cavallo Marino … He created in particular a cylindrical lamp surrounded by crystal discs and mirrors and the famous Bilia Lamp. 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. - Milano, Villa Bouilhet "L' ange volant" a Garches, Parigi, Francia 1958–1962: RAS office building, via Santa Sofia. Margherita Rossi. Its envelope reflected the surrounding landscape and blended into it, like the shell of a beetle. L'architettura è ormai un foglio traforato. For this complex, he designed two buildings with highly colored profiles, one of which was designed in collaboration with the architect Gigi Gho.[1]. 1956–1957: Diamond-shaped tiles and ceramic pebbles for Ceramica Joo, Limito. 1927 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. 1935–1936: Interior design and furnishing of the Italian cultural institute, Lützow-Fürstenberg Palace. - Milano, Stand della Richard Ginori alla Fiera Campionaria In the 1950s, the review became more international and the reopening of borders encouraged confrontation with different cultural and visual worlds. 1938: Design of the "Mostra della Vittoria", Fiera di Padova. Visualizza altre idee su gio ponti, design del prodotto, innovation design. - Varedo (Milano), Arredamento Contini-Bonacossi [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. He saw his facades as folded and perforated sheets of paper with geometric shapes. 1927-1928 1930 - Milano, Arredamento in vetro per il negozio Dahò 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. 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. “Gio Ponti Archives” ha sede nei locali che erano lo studio di Gio Ponti, nell'edificio da lui progettato e abitato in via Dezza 49 a Milano. Lavorò tantissimo a Milano con opere … In 1956, they imagined an imaginary and colorful bestiary, light decorative objects such as cut and folded paper. [7] In the late 1930s, Ponti deepened his research on Mediterranean housing by collaborating with writer and architect Bernard Rudofsky. [16] It was also in 1940 that he began working with the decorator and designer Piero Fornasetti. 1932 Fotografie, disegni, lettere, documenti, testi critici e dati. 1934–1940: Faculty of the Arts, Il Liviano. 1960–1964: Tiling for Ceramica d'Agostino. 1935–1938: First Montecatini building, via Turati. 1964–1970: Montedoria building, via Pergolesi. 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. Quale è il tratto distintivo delle opere di Gio Ponti? Asta 129 / Lotto 345: GIO… MOTORE DI RICERCA GIO PONTI: Milano 1891 - 1979 Asta 147 / Lotto 206: GIO. He then joined forces with engineers Antonio Fornaroli and Eugenio Soncini to form Studio Ponti-Fornaroli-Soncini which lasted until 1945. 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. At the time of its inauguration, and for a few months, it was the tallest building in Europe. 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). 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. - Milano, Mobili per La Rinascente-Domus Nova Dipinge su perspex, piega con … Finally, that same year, his ultimate decorative and poetic shapes, a bestiary of folded silver leaves, were interpreted by the silversmith Lino Sabattini. Milano è la città dove Gio Ponti realizzò molte delle sue opere. [4], Still in Milan, the 108-meter-high (354 ft) 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 construction of the Borletti funeral chapel in 1931, he started to adopt a modernist shift. 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 fought in the Pontonier Corps with the rank of captain, from 1916 to 1918, receiving the Bronze Medal and the Italian Military Cross. 1971: Gabriela chair for Walter Ponti, San Biagio. Ciborio per la Basilica - Milano, Padiglione dell’Industria Grafica e Libraria alla Fiera Campionaria [7] From 1943, due to the Second World War, his activity as an architect slowed down. 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. 1944: Sets and costumes for the ballet Festa Romantica by Giuseppe Piccioli. 1961: Design of the Mostra internazionale del lavoro, Italia'61. He also rationalized the production system of the pieces while maintaining their high quality of execution. Gio Ponti: scopri le opere e la biografia dell'architetto, designer e artista italiano. - Milano, Appartamento Borletti Via de Togni By removing all ornament, Ponti moved towards formal simplification where he sought to make style and structure coincide. 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. Still published today, Domus is a reference in the fields of architecture and design. 1934–1935: Domus Adele (Magnaghi and Bassanini building), viale Zugna. 1923-1938, Disegni dal "piccolo album" Catalogo, Galleria Marlborough, Roma 1976 sono su eBay Confronta prezzi e caratteristiche di prodotti nuovi e usati Molti articoli con consegna … Ad ottant'anni Gio Ponti realizza ancora opere memorabili quali la Concattedrale di Taranto (1970) ed il Denver Art Museum . - Milano, Disegni per stoffe stampate per De Angeli-Frua Les biographies de Carl Andre consignent bien entendu sa date de naissance, 1935 à Quincy dans le Massachusetts, et s’accordent pour faire de l’artiste américain un des principaux représentants de … In the field of interior design, Ponti multiplied inventions and favoured multifunctional solutions; In 1951, he developed an ideal hotel room for the Milan Triennial, in which he presented a "dashboard" bed headboard composed of shelves, some of which were mobile, and control buttons for electricity or radio. 1933–1938: Case tipiche (typical houses), via Letizia and via del Caravaggio. The sky and light became important protagonists of his architecture. 21-gen-2014 - Esplora la bacheca "G_PONTI" di Niki O. projects su Pinterest. 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. 1930 1964: Scarabeo sotto una foglia (Beetle under a leaf), villa Anguissola, Lido di Camaiore. In 1952, he created a new agency with Antonio Fornaroli and his son-in-law Alberto Rosselli. The furniture also became flexible and space-saving in order to optimise space. 1931, Mobili per Turri GIO PONTI. - Milano, Sistemazione della “Rotonda” del Padiglione Italiano alla 16° Biennale di Venezia 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. 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. 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. [20] In 1948 he returned to Domus, where he remained as editor until his death. Vedi tutte le foto e le immagini di Gio Ponti, leggi tutte le notizie e le informazioni su Gio Ponti… 1952: Architecture studio Ponti-Fornaroli-Rosselli, via Dezza. 1927 1928 [11][12] He completely renewed the iconographic repertoire by freely revisiting the classical tradition. 1927-1930 Ponti also offered to Domus readers detailed plans of a circular house called Il scarabeo sotto la foglia (1964– The beetle under a leaf). [4] In New York City, he set up the Alitalia airline agency (1958) on Fifth Avenue and was entrusted with the construction of the 250-seat auditorium of the Time-Life building (1959). On this occasion, he made friends with Tony Bouilhet, director of the silversmith company Christofle. 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. 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. PONTI, Giovanni (Gio). During his career, which spanned six decades, Ponti built more than a hundred buildings in Italy and in the rest of the world. Ceramic sanitaries for Ideal Standard, 1954 ca. The bottles evoke stylized female bodies. In collaboration with the Milanese firm Ceramica Joo, he created diamond-shaped tiles with which he covered 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). It was also in the mid 1960s that he befriended art critic Pierre Restany, who became a regular contributor to the Domus magazine.

Il Rito Wikipedia, Satisfaction Traduzione Della Canzone, Noipa Emissioni Speciali Date Agosto 2020, Laura Pausini Altezza, Peso, Autotutela Amministrativa Definizione, Codex 1 Esercizi Svolti, I Gemelli 2, Ristoranti Senza Glutine Roma Eur, Giorgio Guanciale Fidanzata,