Джованни Понти: Итальяндық сәулетші және дизайнер

Italian architect
the racehorse

Giovanni "Gio" Ponti ([d͡ʒo] 18 November 1891 – 16 September 1979) was an Italian architect, industrial designer, furniture designer, artist, teacher, writer and publisher. During his career, which spanned six decades, Ponti built more than a hundred buildings in Italy and in the rest of the world. He designed a considerable number of decorative art and design objects as well as furniture. 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. From 1936 to 1961, he taught at the Milan Polytechnic School and trained several generations of designers. Ponti also contributed to the creation in 1954 of one of the most important design awards: the Compasso d'Oro prize. Ponti died on 16 September 1979. 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.

Ponti was born in Milan in 1891 to Enrico Ponti and Giovanna (Rigone). His studies were interrupted by his military service during World War I. He served as a Capitan in the Pontonier Corps (Corps of Engineers) from 1916 to 1918 and was awarded both the Bronze Medal of Military Valor and the Italian Military Cross. Ponti graduated with a degree in architecture from the Politecnico di Milano University in 1921. The same year, he married Giulia Vimercati, with whom he had four children, Lisa, Giovanna, Letizia, and Giulio, and eight grandchildren.

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. In these years he was influenced by and associated with the Milanese neoclassical Novecento Italiano movement. In 1925, Ponti participated in the International Exhibition of Modern Decorative and Industrial Arts in Paris, with the porcelain manufacturer. On this occasion, he made friends with Tony Bouilhet, director of the silversmith company Christofle. The family Bouilhet who entrusted him with his first architectural commission abroad, with the construction of the Ange Volant (1926–1928, in collaboration with Emilio Lancia and Tomaso Buzzi), a country house located on the edge of the Saint Cloud golf course, on the outskirts of Paris. 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. 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. He was involved in many projects, particularly in his native city of Milan. With the construction of the Borletti funeral chapel in 1931, he started to adopt a modernist shift. By removing all ornament, Ponti moved towards formal simplification where he sought to make style and structure coincide. 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. Spacious, equipped and built with modern materials, they met the requirements of the new Milanese bourgeoisie. The construction of the Rasini building (1933–1936) with its flat roofs marked the end of his partnership with Emilio Lancia around 1933. He then joined forces with engineers Antonio Fornaroli and Eugenio Soncini to form Studio Ponti Fornaroli Soncini which lasted until 1945. For the 1933 Fifth Triennial of Decorative Arts in Milan, Giovanni Muzio designed the Palazzo dell'Arte in Parco Sempione, a museum and theater to host the displays. Adjacent to the palace, a steel tower spire was commissioned from Gio Ponti. The Littoria Tower (or Lictor's Tower, but now Branca Tower), was meant to resemble the bundles that formed the fasces. It was topped by a panoramic restaurant. Putatively the tower height was limited by Mussolini so as not to exceed the height of the Madonnina statue atop the Duomo. With the first office building of the Montecatini chemical group (1935–1938), for which he used the latest techniques and materials produced by the firm, in order to reflect the company's avant garde spirit, Ponti designed, on an unprecedented scale (the offices housed 1,500 workstations), a building in every detail, from architecture to furniture. 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. Ponti chose bright and functional spaces with simple lines, including a fan shaped building that housed three amphitheaters. 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. In the late 1930s, Ponti deepened his research on Mediterranean housing by collaborating with writer and architect Bernard Rudofsky. 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. 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. Construction continued in Milan. In 1952, he created a new agency with Antonio Fornaroli and his son in law Alberto Rosselli. This vast hangar was designed as an architecture laboratory, an exhibition space and a space for the presentation of studies and models. After the death of Rosselli, he continued to work with his longtime partner Fornaroli. A block away, in via Dezza, Ponti built a nine story apartment building, which housed his family. 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. For this complex, he designed two buildings with highly colored profiles, one of which was designed in collaboration with the architect Gigi Gho. Facing Milan's main station, this 31 story, skyscraper housed the headquarters of Pirelli, a company specializing in tyres and rubber products. At the time of its inauguration, and for a few months, it was the tallest building in Europe. 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. 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. 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. The overall effect has been noted for its "lightness": "the Villa Planchard sits so lightly on the hillside above Caracas that it is known as the 'butterfly house.'" 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. This villa has since been destroyed. 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. He then applied this solution to domestic spaces and offices, with "organised walls". Next came the "fitted windows", for the manufacturer Altamira in particular and that he used for his apartment via Dezza. He completely renewed the iconographic repertoire by freely revisiting the classical tradition. He also rationalized the production system of the pieces while maintaining their high quality of execution. The pieces were presented at the first decorative arts biennial in Monza in 1923. 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. After this major success, Ponti played a major role in the modernisation of Italian decorative arts, especially thanks to his involvement in the Monza Biennials and the Milan Triennials. In the 1920s, Ponti began numerous collaborations, notably with the silverware company Christofle, the glassmakers Venini and Fontana Arte. He also founded the Labirinto group, with Tomaso Buzzi, Pietro Chiesa and Paolo Venini, among others. 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. In the 1930s, while Ponti continued to design unique pieces of furniture for specific interiors, and encouraged the promotion of quality series production. 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. He created in particular a cylindrical lamp surrounded by crystal discs and mirrors and the famous Bilia Lamp. In the 1940s and early 1950s, Ponti turned to unique creations showcasing the skills of exceptional craftsmen. With the artist and enameller Paolo De Poli, they created enamelled panels and brightly colored furniture. In 1956, they imagined an imaginary and colorful bestiary, light decorative objects such as cut and folded paper. 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. From 1946 to 1950, he designed many objects for this glassmaker: bottles, chandeliers, including a multicoloured chandelier. The bottles evoke stylized female bodies. It was also in 1940 that he began working with the decorator and designer Piero Fornasetti. 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. ), spanned two decades. 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. In 1957, the Superleggera chair designed for Cassina, and still produced today, was put on the market. 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 chair, which was very strong but also so light that it can be lifted by a child using just one finger. 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. 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. 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. The aim of this review was to document all forms of artistic expression in order to stimulate creation through an independent critical perspective. 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 also presented the work of Charles Eames and of the decorator Piero Fornasetti. Over the years, the magazine became more international and played an important role in the evolution of Italian and international design and architecture. Still published today, Domus is a reference in the fields of architecture and design. In 1941 Ponti resigned as editor of Domus and set up Stile magazine—an architecture and design magazine sympathetic to the fascist regime—which he edited until 1947. In the magazine, which expressed clear support for fascist Italy and Nazi Germany, in reference to the regime, Ponti wrote: "our great allies give us an example of tenacious, very serious, organized and orderly application "(Stile, August 1941). Stile only lasted a few years and shut down after the Aglo American liberation of Italy and the defeat of The Rome Berlin Axis. In 1948 he returned to Domus, where he remained as editor until his death. His daughter Lisa Licitra Ponti soon joined the editorial team. In the 1950s, the review became more international and the reopening of borders encouraged confrontation with different cultural and visual worlds. 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". 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. This concept applied to architecture as well as art and design. It was symbolized by the hexagonal shape of the diamond that Ponti used in many of his creations. In the 1950s and in the 1960s, Ponti multiplied events in Italy and abroad. In 1964, he organised a series of exhibitions in the Ideal Standard showroom in Milan, named "Espressioni", featuring a generation of talents such as Achille and Pier Giacomo Castiglioni, Enzo Mari, Bruno Munari, Ettore Sottsass, Nanda Vigo or the artists Lucio Fontana and Michelangelo Pistoletto. It was also in the mid 1960s that he befriended art critic Pierre Restany, who became a regular contributor to the Domus magazine. 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. At Eurodomus 2 in Turin in 1968, Ponti presented a model of a city, Autilia, for which he imagined a continuous vehicle circulation system. 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. From 1936 to 1961 he worked as a professor on the permanent staff of the Faculty of Architecture at Politecnico di Milano University.

In 1934 he was given the title of "Commander" of the Royal Order of Vasa in Stockholm. 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. Finally, he obtained an honorary doctorate from the London Royal College of Art.