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GIO PONTI: THE COMPLETE WORK 1923 - 1978
Lisa Licitra Ponti
Lisa Licitra Ponti: GIO PONTI: THE COMPLETE WORK 1923 - 1978. Cambridge: The MIT Press, 1990. First edition. A fine hardcover book bound in full cloth in a fine dust jacket: faint scratches on rear panel. The top corner of the front endpaper is mildly creased -- an extraordinarily well-preserved copy of this oversized edition. Interior unmarked and very clean. Out-of-print.
10 x 11.25 hardcover book with 288 pages and 630 images (90 in color) illustrating all of the noted Italian architect/designer's completed projects. A biographical profile, bibliography, and chronologies of works and exhibitions round out this stunning book.
A magnificent tribute --they truly don't make them like this anymore.
This is the first complete survey and thematic profile of one of the most prolific and accomplished Italian architects of the century. From the Richard-Ginori chinaware and the founding of Domus magazine in the 1920s and '3Os, to the Pirelli tower erected in Milan in the 1950s to the "facade" architecture of the '70s, Gio Ponti has been a major force in the shaping of twentieth-century Italian design. GIO PONTI: THE COMPLETE WORK 1923 - 1978 presents a fully illustrated decade-by-decade account of Ponti's vast output in interior and industrial design, decorative arts, and architecture. It describes his powerful influence on generations of Italian designers, his contributions to Italy's urban culture, and his role as a propagandist and editor.
Gio Ponti was not only an architect but a poet, painter, polemicist, and designer of exhibitions, theater costumes, Venini glassware, Arthur Krupp tableware, Cassina furniture, lighting fixtures, and ocean liner interiors. He is perhaps best known as the architect of Milan's Pirelli tower, at one time the tallest building in Europe, and for his "Super-leggera" chair which was first manufactured in the '50s and has become classic because of its almost universal use in Italian restaurants. Above all, Ponti was responsible for the renewal of Italian architecture and decorative arts. Drawing upon the legacy of the Viennese Secession and the Wiener Werkstatte, he transformed "classical" language into a rationalist vocabulary.
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