Articles from Britannica Encyclopedias for elementary and high school students. An outstanding draughtsman, his first direct encounter with architecture resulted in sketchbooks filled with first-hand studies of Palladio’s architecture. 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". A building which was not particularly well-received by a significant number of Italian critics of the time (one infamous example was the disdainful comment by Bruno Zevi who defined the skyscraper as an enormous drinks cabinet), but which is universally recognised as representing the theories on the integration between art and technique, on the different perception of day and night-time architecture, and to the finished form. Later in 1921 he got his bachelor’s degree of architecture from the Milan Polytechnic. In 1964, he organised a series of exhibitions in the Ideal Standard showroom in Milan, named "Espressioni", featuring a generation of talents such as Ettore Sottsass, Bruno Munari, Achille Castiglioni, Nanda Vigo, Enzo Mari or the artists Lucio Fontana and Michelangelo Pistoletto. Ponti graduated in 1921 from the Milan Polytechnic. Ponti remained associated with thie magazine as its editor until 1946. 1934: Room "Più leggero dell'aria" ("Lighter than air") at the Esposizione dell’aeronautica italiana, Palazzo dell'Arte. Ponti died on 16 September 1979. Updates? 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. Ponti graduated in 1921 from the Milan Polytechnic. Get exclusive access to content from our 1768 First Edition with your subscription. Here Le Corbusier’s Ville Radieuse prompted him to integrate the theoretical lines of CIAM’s Modernism with his idea of the casa all’italiana (Italian home). He also founded the Labirinto group, with Tomaso Buzzi, Pietro Chiesa and Paolo Venini, among others. Ponti also presented the work of Charles Eames and of the decorator Piero Fornasetti. He participated in the redevelopment and interior design of several Italian liners (Conte Grande et Conte Biancamano, 1949, Andrea Doria and Giulio Cesare, 1950, Oceania, 1951), showcases the know-how of his country. 1930–1933: Textiles for Vittorio Ferrari, 1940: Paintings and objects made from enamel on copper in collaboration with, 1940–1959: furniture and interior design in partnership with, 1941–1947: Furniture decorated with enamel in collaboration with, 1942–1943: Film adaptation of the play Henry IV by. 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. At the time of its inauguration, and for a few months, it was the tallest building in Europe. Passionate about Ponti’s work, Bouilhet commissioned the architect to design his family villa, the Ange Volant at Garches, in 1926, along with various silver objects for the house, cementing the pair’s lifelong friendship. A model of linear housing in which the various individual units all have common features such as balconies, terraces and windows which, despite varying autonomously block by block, reflect consolidated characteristics from Italian tradition because, as Ponti wrote in 1943 for Stile: “Italy has nothing but its civilization to save its civilization”. Spacious, equipped and built with modern materials, they met the requirements of the new Milanese bourgeoisie. Ten years on from the trauma and destruction of the Second World War, Ponti continued to demonstrate his talent in the search for the new with the Pirelli Tower completed in 1960, which remained for a considerable time the tallest building in Milan and Europe. He also rationalized the production system of the pieces while maintaining their high quality of execution. In 1933 Ponti was appointed to the executive committee of the Fifth Milan Triennale, an international exhibition stressing the work of young Milanese avant-garde architects. Our editors will review what you’ve submitted and determine whether to revise the article. In the words of Italian architect and historian Fulvio Irace: “There was no-one who managed to express the spirit of Milan quite like him, distilling the atmosphere of the city and raising its aspirations to modernity, at the same time channelling the ambitions of the upper class towards an authenticity of expression which was never to be seen again in the years to come following his death in the home in Via Dezza. Fotografie, disegni, lettere, documenti, testi critici e dati. Interior design, planning and design of man-made spaces, a part of environmental design and closely related to architecture. This theatricality was reinforced by the omnipresence of ceramics, whose uses he reinvented both indoors and outdoors. Trained initially in architecture, Ponti soon moved into industrial and interior design, experimenting with ceramics, silverware, and glass.