Private collection, Milan
Domus, no. 293, April 1954, front cover
Domus, no. 308, July 1955, p. 64
'Accanto alla architettura', Domus, no. 312, November 1955, p. 20
Roberto Aloi, L’Arredamento Moderno: Sesta Serie, Milan, 1955, fig. 283
'Una porta, e nuovi mobili', Domus, no. 321, August 1956, pp. 21, 23
Lisa Licitra Ponti, Gio Ponti: the Complete Work, 1923-1978, London, 1990, p. 160
Irene de Guttry and Maria Paola Maino, Il Mobile Italiano degli Anni '40 e '50, Bari, 1992, pp. 41, 241
Marco Romanelli, Gio Ponti: a World, Milan, 2002, p. 58
Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2004, pp. 172, 182
Ugo La Pietra, ed., Gio Ponti: L’Arte si innamora dell’Industria, New York, 2009, pp. 226, 227
Italian • 1891 - 1979
Among the most prolific talents to grace twentieth-century design, Gio Ponti defied categorization. Though trained as an architect, he made major contributions to the decorative arts, designing in such disparate materials as ceramics, glass, wood and metal. A gale force of interdisciplinary creativity, Ponti embraced new materials like plastic and aluminum but employed traditional materials such as marble and wood in original, unconventional ways.
In the industrial realm, he designed buildings, cars, machinery and appliances — notably, the La Cornuta espresso machine for La Pavoni — and founded the ADI (Industrial Designer Association). Among the most special works by Gio Ponti are those that he made in collaboration with master craftsmen such as the cabinetmaker Giordano Chiesa, the illustrator Piero Fornasetti and the enamellist Paolo de Poli.
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