Tutto Ponti – Gio Ponti archi-designer

cia / Arrigo Coppitz; Vincent Thibert cia / Arrigo Coppitz; Vincent Press kit #TuttoPonti_MAD 19 Oct 19 Oct 2018 — 05 May 2019 May — 05 Graphic design: BETC and Italo Lupi Photo credits: © Gio Ponti Archives; Editoriale Domus S.p.A., all rights reserved; , MAD, photo Jean Tholance; Francesco Radino; Courtesy Wright Auctions; Associazione Amici di Doc Contents

→ Press release → About the catalogue → Excerpts from the catalogue Olivier Gabet Salvatore Licitra Sophie Bouilhet-Dumas → Exhibition design → Sponsors and partners → Additional photographs → Activities for the public → Useful information © LucaMassari 1964-1970 2. Tarento Cathedral— © GioPontiArchives Ponti, Via Dezza,1957 1. GioPontiandGiulia – Press release May 5 of glassware, ceramicsmetalwork. and incursionintohis journals to thefields lighting,from and tothe creation of industrial todesign, from furniture workaspectsfromhis of from 1921 to 1978, highlighting numerous coverslong careerthe entirety his of presented in the museum’s mainhall, Tutto Ponti: Gio Ponti, Archi-Designer, wayliving. new offor art a The exhibition post-war architecture,the up opening craft production, Ponti revolutionized equally interested inboth industrial and in Francein from October19 Décoratifs inhis first retrospective be honored at the Musée des Arts century, Gio Ponti (1891-1979) will architects anddesignerstwentieth ofthe influentialmostConsidered oneofthe th , 2019. Aprolific creator who was th , 2018, to 1. architects. new generations of designers and contemporariesinspire andcontinuesto generosity and passion stimulated his fromItalian the design scene,whose creativemythicalworld character ofthis introducetopublic to the wider the . This exhibitionis anopportunity nevertheless remains littleknown in and highly coveted by collectors, it by enlightened design enthusiasts Ponti’sWhile Gio workis admired today Italo Lupi. collaborationthe graphicwith designer by the agency Wilmotte &Associés in The exhibitionwas design conceived (universitiesbuildings andcathedrals). fittings for private homes andpublic architecture,interiorfurniture and displaymultidisciplinary that combines neverplace leftof their origin,trace this Over 400 pieces, some of which have — 2.

press kit Ginori Produced byRichard porcelain urn withlid, archeologica — 4. Passeggiata © GioPontiArchives 1960 Sorrente Hotel — 3. Parcodeiprincipi which he founded in1928. especiallyDomus, throughjournal the he organizedBiennial,and Monza atthe new talents thanks to the exhibitions that able to spread hisideas and promote designers and manufacturers, he was movementLabirinto whichgathered Thanks tohis connections withthe arts accessibleto the greatest number. stores, therebymaking the decorative Rinascente, forItalian the department furniture withsimpleforms, La called Ponti createdseriesmodestlypriced aof and Venini inMurano. Inparallel, Gio and collaborated withChristofle Paris in volant villa in the Parisian aera, France, architectural work abroad,Ange the The following year, he designed his first of Decorative Arts inParis1925. prizes at the International Exhibition inspirationneoclassical were awarded the company’s creations.worksHis of system,methodto his allof applying he re-evaluated its serial production Ginori porcelain manufactory in1923, Named artistic directorRichard- ofthe his villa on the Via RandaccioinMilan. ofinspired classically architecturewith beginning, he adopted the principles his architecture practice in1921. In the Polytechnic, Gio Ponti opened Havingreceived his diploma from the 3. PavoniLeggera and the chair for Cassina. coffee machineLa Cornuta (1949) for emblematic objects:the aerodynamic he organized.He alsoconceived oftwo the exhibitionsDomus and journal his promotedItalian design abroadthrough for the “madeinItaly” movement, he end ofwar,the protagonistmajor asa and costumes for laScala inMilan.At the creatingnew screenplays as well as sets passionfor writing, opera the cinema, and He also returned to oil painting, and to his University of ’s Palazzo del Bo. to creatingmonumental frescos atthe 1940s,PontiIn theGiohis attention turned for Casa e Giardino. for DeAngeli-Frua and Ferrari and furniture FontanaArte, silverware forKrupp, fabrics of homewares, he designed lighting for in Milan.Amonghis work in the field offices for the companyMontecatini construction ofCase Tipichethe and tookmodernist a turnwiththe In the 1930s, his architectural practice 4.

press kit march 1967 Domus n°448— 6. Magazinecover © GioPontiArchives 1957 &1953 Chiesa Office for Cassina&Giordano 5. Superleggerachair in Sorrento. light, as in the hotel Parco dei Principi coveringsthat capturereflect and the He favoredsuspended. ceramic wall ratherbut elevated, ethereal andalmost elements that are nolongerload bearing, and worked towardsmaking wallsinto interplaybetweensurfaces andcolors, Gio Ponti was particularly interested in the furniturehis icon of designs. the one oflightest the in theworld,became Superleggera (a variant of the Leggera), composition for Lumi.In1957, the chair 2012 by Molteni&C) and hisluminous Distex armchair for(reissued Cassina since furniturepieces at thistime,includingthe numerousHe designed objects and in Milan– a veritable creative laboratory. headquartersactivityhis comingoutof wordsprofusionthat describethe of color and simplicity:these arekey the in Milan.Lightness, transparence, clarity, in CaracasPlanchart Pirelli and the Tower masterpiecesperiod: Villa this during even HongKong. He created two of his the , the MiddleEast and architecturalin , commissions international audience with majorprivate career,Ponti’s Gio stylereached a wider From 1950 to 1960, at the peak of his 5.

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http://domus.immanens.com/it/pvPrintWLI.asp?skin=dom&publication=001001&issue=448&page=1&choice=1 copper. with works inpapier mâché and enameled Ceramics,metalwork glass and intermingle smaller companies.with artisansand Christofle and Fontana Arte, as well as manufacturersRichard such as Ginori, that heundertook with major art-object side galleryexploresthe collaborations the globalwork. aspecthis of The garden- spectacularreconstructions emphasizing rooms”“period six conclude the visit with objects,furniture andarchitecture.Finally, then unfolds in three parts, focusing on masterpieces,introduces the circuit that of the TarantoCathedral, latehis oneof An evocationpublishing. design and fields of architecture, interior design, viewPonti’s of six-decade careerthe in Archi-Designerpresents achronological The exhibition Tutto Ponti: Gio Ponti, to contemporary lifestyles. in orderluminous to adapt thespace became more flexible, mobile, light and approach to furniture design, which Museum (1974). He also took a new Cathedral (1970) and the Art geometric forms,in the as folded pieces of paper pierced with architectural façadesif they as were and lightness, he envisaged his 1970s,In the still seeking transparence

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press kit © DR 1960 Milan 9. Pirellitower— Christofle Collection Christofle, Paris 1957 8. Aeroteapot— Marco ArosioCollection 1967 Franco Pozzi Produced by 7. Tableware — the Villa Planchartin . dei Principihotel inSorrento and finally Dezza inMilan, the interior of the Parco University,Ponti’s Gio home on the via building inMilan, the palazzo Bo-Padua Parisian aera,in the Montecatini the highlight Ponti’s creations: l’Ange volant representingeach adecade,inorderto unique spaces have been conceived, Finally,period. the Rivoli on the side, six photographsmodels, and filmsfrom chronologicallythrough drawings, as architecturalprojects detailed furniture,lightingtextiles, and well as sectionsfeaturing major commissions, exhibition –ispunctuated by five The mainhall– the backbone of the 8. 7. work. in hisjoyful, colorful and very personal remainedrichness andoriginalityconstant Ponti’s field of exploration, through which This catchphrasebreadthup the sums of infinitely small infinitelyto the large. projectswhose range could from the personalityMilanesethe architect, ofthe reference toPonti, Gio perfectly embodies Ernesto Nathan Rogers in (1909-1969) city”, attributedItalianto the architect The expre internationalmodern and civilization. ultimatethe be expression of anauthentic notion“Italian ofhouse”, an consideredto Untilthe Ponti veryGio end,defendedhis ssion “fromssion thespoonto the 9.

press kit – the catalogue About architects. inspirenew generations of designers and his contemporaries andcontinueto generosity andenthusiasmstimulated fromItalian the design scene, whose universelegendary character ofthis French.Itpays tribute to the creative book on Gio Ponti to bepublishedin des Arts Décoratifs and the first reference forthe exhibitionpresented Musée atthe servesbook boththecatalogueThis as buildings. the design ofsumptuous villas andofficial ,America and amongothers,for solicited by clients from New York, South Pirelliiconic Tower,Ponti Gio was also based out of Milan, where hebuilt the talents. Though hispractice was primarily everyhis he applied to domain which ceramics, metalwork, textiles: it explores architecture,furniture, lighting, glass, 1970s. Private, public and religious long career, from1920s the tolate the book coversThis the entirety Ponti’s of THE BOOK On salefrom: October201819th, Published by MAD ISBN: 978-2-916914-75-6 55 euros Approx. 300illustrations Hardcover Format: 23 x31.5 cm 320 pages authors contributed to thiswork. About thirty French and international Dominique Forest and Salvatore Licitra. Sophie Bouilhet-Dumas, the directionUnder of THE AUTHORS

press kit – catalogue Excerpts from the della Toscana Doccia, PoloMuseale della Manifatturadi Museo RichardGinori Sesto Fiorentino, burnisher. with goldusinganagate porcelainn highlighted 1924, for RichardGinori, Conversation) cista— Classica (TheClassic 11. LaConversazione Milan © GioPontiArchives, Gio Pontiarchives in Paris,1973 Musée desArtsDécoratifs daughter Lisaatthe 10. GioPontiandhis legitimateheir ofthe greatest artists ofthe A world of creationPontimade whichthe Domus (…). hundreds ofmagazine articlesfor the of furniture, thousands ofletters (…), Hundredsmodels of of objectspieces and Milan to Teheran, Caracas toDenver. and factories, thewholeworld over, from houses, museum, cathedral, universities twentieth century architecture,buildings, dozens historymajor edifices of the for of thathim acorpusdefies allqualification: an almost limitless creativity, left behind the elegant archidesignerPonti,Gio with up until his death in1979. Soprolific that in the 1920s and remained prolific right Ponti’slong creative careerstartedwhich particular anniversaryno to celebratein proudly-rooted (…) self-evident. There is most obvious one. This greattreeis 2018autumn toPonti, Gio seemedthe some exhibitions,paying tribute this From theforest ofpossible choices for Forewordby OlivierGabet 10. international career offthe ground. Richard Ginori manufactory, really got his Italian Pavilion via the installation by the prizes, thanks tohis contribution to the being awardedbecause main oneofthe in 1925? An important date inPonti’s life, of ModernDecorative and Industrial Arts organisation of the International Exhibition point out the museum’s majorrole in the the Musée des Arts Décoratifs. Will we would have beenheldin the nave of and ifithad taken place, it quite normally tohis deathhold due a yearput onlater, begun to designretrospective a that was Palladian villa in the Paris region), had commission for the Ange Volant (a post- were therebeginning withthe his at 1978,In TonyBouilhet, who and Carla whole downto the verylast detail. his field,fromin theMichelangelo overall still fascinatesus today, Leonardo the or the continuityheritageembodied ofthat a and practical, light and bright, vibrant, he contours ofpossiblepoeticworld, another Italian Renaissance –by redesigning the 11.

press kit Milan © GioPontiArchives, 1948 Cornuta forLaPavoni, also knownasLa model 47, 13. Espressomachine Milan © GioPontiArchives, 1957, inkonpaper 11th MilanTriennial — exhibition atthe at industrialdesign 12. Drawingspresented to another. faithful,but episodic from onedecade Gio Ponti, like a long working partnership, Musée ArtsDécoratifsthatdes tiethe to thereso And are agreatmanythreads pensieri fraterni.” and Domus,here’s to you Mathey imiei you and the museumhave done for me “Thank-you ofit: my friendfor all that handwritingflowingbeautiful fluid his out paper,writing withslenderfingers and museum’ssome ofhand onthe headed ofthank-you, a PontiGio drew anelegant creation is quite head spinning. By way thoughtmodern andcontemporaryof brought together the elitein thefield artisticlist talent: the ofpartnerships that inspirationfortoplace encounter asa European modernity, as much a platform adventure that had shaped a large part of forty-fivethan years intellectual of an exhibition to museum atthattime, of devotedthe an , François Mathey, director 1973,In working withthe art critic good luck, and henever forgot it. In someways,broughtParis Ponti Gio Domus covering not less 12. source of his art, coming back home.backsource his art,coming of feeling ofPonti seeingGioreturn to the internationalinfluence level. onan The his close relationship with France and his frequented. Aplace that represents both lovedhe with thespirit ofplace the and PontiGio comesface to face onceagain permanent motifs of his vision, in thisspirit ofunity whichwas one of the Here, at the Musée des Arts Décoratifs, parthistory. ofmajor art short a in architecture, design anddecorative arts, the placehe deserves in the history of the thingsthat are Caesar’s and toPonti This timely exhibitionrenders unto Caesar 13.

press kit Milan © GioPontiArchives, Milan, privatecollection. paper around 1960,felt-penon to LisaPonti— 15. Letterwithdrawings Milan © GioPontiArchives, 1956 Arreaza, Caracas— 14. LivingroomatVilla looked attoday. illustrating how Gio Ponti’s work isbeing differentpoints of view,in andareuseful describing the samesubject from two this initiative. These terms are interrelated, necessarytomake explicit attheoutset of architects, there are two termsI feelit that today amongartists, designers and and the renewed attention itis attracting “PontianConcerning thisuniverse,” finally, creative careertogether. couldcome (…) the which allvaried expressionslong his of Pontibe comprehensive, in setting a intentionOur was that this exhibition on creativity refer and look for inspiration. important contemporary expressions of present,the and at thesources to which bygoneratherbut age,way a lookingat of “Italian arts”and offigure a frompast a and therefore,presenting of anaccount of pointreference. of not acase,is This Frenchwhich cultureimportantwas an importancePonti’s of oeuvre,for (…)the acknowledgment and ofthe museum’sthe supporters anddirectors choice: Gio Ponti’s longrelationship with urgent. There arereasonsmany for this morewellneed, assomething as basic Gio Ponti, today, responds to both a to organise anexhibition dedicatedto the Musée des Arts Décoratifs inParis believeI thatthe decisionof Salvatore Licitra Ponti:A GuideforGio Contemporary Use 14. (…) architecture, colours,spaces anddesign. contemporary mode of perceiving his oeuvreofforerunner asa of a most contributesto the consideration is oneoftrue artist,theelementsa that director/composerfreedomthe and of work,the detachmentwith worthy of a perceptionintopillars oneofthe his of Gio Ponti’s ability to make visual the juxtaposition of materials. (…) decorative details,lights,walls, openings, facades,building in on as focusing or out to include vast portions of reality such expressedthreein dimensions,extending containsrefined play a of composition fallen inlove with architecture. His work had himselfasanartistdefining who PontiGio started loved outasanartist and inhabit them. people whowill the the but onvisualexperiencespaces, of functionsbasedthe andavailability on of that is formed and modellednot only trace the visual field. is architectureThis strewn with eyes and pierced by lines that architecturalplans, younotice they will are If you observemanyPonti’s of The first is“the gaze asmeasure.” 15.

press kit Milan © GioPontiArchives, 1939 piccola casaideale— 17. IllustrationforUna Mannion © PhotographTom University ofPadua Palazzo delBo, Gio Ponti, fresco createdby 16. ScaladelSapere— comes tomind). projects (the theory of mirror neurons recognizable inprevious or subsequent intrinsic to a singlework, and seemingly the element that interests usis atemporal, others.Refraction, in thesensethat then, elementsnecessary torelate it to the individual workprovides us withthe imagine another,and which eachin ourselves from this chronological vision of Ponti’s work (…) we must distance markedpeculiarities andartisticslantthe by the“context,” precisely because of Yetif we wishto avoidbeing distracted it arose,significant.is which this and historicalthe andcultural contextin connections between Ponti’s work and chronological. This allowstous create itinerary of this sort is,by its very nature, six-decadehis Inevitably career? any wayto its describedevelopment over time?mostis the What appropriate HowPonti’s does activity evolve over Refraction 16. to the Pontian universe for inspiration. and architectsfrom alloverlook worldthe many contemporaryso artists, designers above all, to experiencereasons the why tobut also, comprehendand spirit their Gio Ponti” (as heused to title his work), architecture that were“expression the of betweenworksthe ofpainting design,and togethersimilarities andcross-references layout.Doing sowill allow themto string but disregardingand all the chronological PontiGio certainlyhave,would disobeying restless, who adopt the approach that mostmostthe perhapsthe curiousor read this catalogue, therebe some, will who theexhibitionpeople visit and thatthe hope among I In conclusion, in new ideas. (…) freedom and inventiveness necessary and knows, but which heuses with the palette,the vibrationshevalues ofwhich maintainsan artist from the colours his on transfigured themthanks to the distance creative impulse, buthe then consciously participated inPonti’s work and shaped its Thesesuggestions,many others, and period. “16th century” “Phoenician,” “Palladian,” or, muchless, in Ponti’s career there isno“Etruscan,” to us enthusiastically about Serlio... yet passiona forPalladian obelisks, spoke vasesRichard atGinori,developed redesigned and reproduced Phoenician notesmade the décor, about and Ponti certainly visited Etruscan museums or thefurnitureof1970s. the (…) 1920s,the architecture 1950s, ofthe his works, whether the ceramics of the of keyboard with which Ponti “composed” that describe the Pontian universe. A sort references,forms, archetypes,terms and Thus emergesnetwork-like a system of 17.

press kit © DR Glass, crinoline Circa 1940 Produced byVenini 19. Bottle— © StéphaneGuarrigues Heritage Christofle tin 1928 18. CandelabraArrow— Region, on the heightsSaint-CloudRegion,the of onthe country home, located in the Parisian Pontihe commissioned to designtheir Parisian jeweller. (…)The following year, personalityimmediately fascinated the French section. (…) Ponti’s effervescent head ofArts of the Tableware for the of thefirmChristofle who was alsothe of TonyBouilhet, youngheir anddirector classica, buthemade the acquaintance porcelain vasethe with awayfirst theceramics in prize category, doubly rewarded: not only did he win markets(…). ThisParisian triumphwas part init and to open itself up to new He convincedRichard the family to take industriels modernes in1925. internationale des arts décoratifs et anticipated preparation of the Exposition elite beganbusying itself with the highly mode ofproduction, Parisian whenthe at thesametimetryingto optimizeits renewal ofmanufacturer’s the style while he hadbeen at work on the profound manufacturerRichardFor Ginori. two years was artistic directorporcelainfor the career, whilethe youngMilanese architect toFrance arosehis beginning of atthe The bonds connecting Gio Ponti Sophie Bouilhet-Dumas Bridges between Milan and Paris La conversazione 18. triumphant success inParis.(…) formes italiennes” Ponti achieved hismost (…) In1967, with the exhibition “Domus design inParis,New York and . encouraged initiatives promoting Italian abroad.With contagious he enthusiasm fervent defender ofthe and particularly in the 1950s, Ponti was a design and art. All throughout hislife, creationsfields the in ofarchitecture, promotionItalian ofinternational and strategicpostfor the observation and Domus, hepositioned himselfin a In retaking the helm of the magazine thanks topromotion the of the arts. and political reconstruction of his country the economic,participatingin cultural After thewar,Ponti’s solefocus was on Carla Borletti. between Tony Bouilhet and Ponti’s niece, relativesbecame thanks tomarriage the by1928, thefactin beginning they that, emulation wasreinforced further even creative partnership. This reciprocal cigaretteholders, forever sealed their fromradiator knobsto cutleryand largenumber ofapplicable objects, ona steel and nicknamedPony (Ponti-Tony), imagined by Christofle inpolished the doorknobs. The ornamental character to the garden withoutforgetting about conceived unit,fromas roofa single the design a modern,“Italian” style house projectrealised thearchitect’s desireto Stein-de-Monzie. ThisCorbusier’s Villa Le justgolf club,few a cable’sfromlengths “Made inItaly” 19.

press kit Milan © GioPontiArchives, exterior view. Milan, Via Randaccio— 20.Residential Building to namejust a few. sculpted dwellings of André Blocin1965, house of Claude Parent in1957, and of HenriProuvé in1950, the experimental Royère in1939, the prefabricated home interiorthe designfurnishingsof and Jean in Boulogne-sur-Mer publishedin1928, the homeby and Jeanneret were regularly championed inits pages: ofthe architectural andartisticscene issues of the 1960s. The biggest names of1920s the or the expanded special country,in thesimple whetherarticles in which culture certainly contributedmanner to the Ponti’s unconditionallove for French Domus supported inthis design 20. sake.” example“architecture of for architecture’s “Novecento”the in designed spirit, asan Ponti wouldlater recall thisfirst building, living area from thesleeping area(…) a circular antechamberthat dividesthe untoitself, roomswith distributed around imaginedasanapartment is Eachfloor resemblesPalladian theatre a small (…) overlookingmostthe garden, the ornate, concavefacaderhythm. Thedistinctive facades,possessingits each own plan fansThebuilding outwithfour family from1926 to1936. Lancia – and where heresided with his designed –in collaboration with Emilio on Via Randaccio, the first building Ponti with humorous lightness into hisbuilding architecturaltransposed vocabularyis entablatures, tympanums, obelisks: this him throughout hislife (…) Niches, urns, Renaissancethe architect stayed with sketched abundantly. This admirationfor designed by Andrea Palladio, which he to lodgein several abandoned villas Pontisoldier Giohadthe opportunity FirstDuring the World War, as a young 1924–26 Randaccio Milan, Via Collaboration with EmilioLancia Residential Building his Italianstylevision of an humanism. Francein soeffectively building embodied Restany’s views,L’Ange only volant,his home of his friend Tony.”20 InPierre desired, he said, “to die inParis at the in him and hisinclination towards it,Ponti art. Expressing the joy the city inspired quarante-cinq ansd’architecture, design, editorialwork,‘1928-1973 entitled curator, organised anexhibitionhis on and François Mathey, the museum’s head décoratifs, at the behest of Pierre Restany 1973in Union centralewhile the des arts inducted into the Académie d’architecture, to pay tribute to him:in1968he was his life, Ponti’s French friends desired “Italian Le Corbusier.” (…) At the end of faras tothe ashim describe architecture,Frenchpress the went contribution in the history of 20th-century To evokeimportancePonti’sthe of Domus:

press kit Milan © GioPontiArchives, Milan, 1936 Laporte — family apartment,Casa 22.Inside GioPonti’s Milan © GioPontiArchives, Milan, 1928 entrance hallway— 21. BorlettiBuilding, 22. 21. 1936 and 1943.1936 and on whoselived topbetween he floor wrotePonti on thesubject ofhouse this architecture andourlife,”vision of aremorebeautiful, fresher, closer to one another,us emotionsthat arousein of light that, putinto relationship with unique composition ofspacesa and ceiling.” “The housebecomes a creation, retractable awnings, ithas“the sky for a Italian-stylepergolaswith andequipped Surroundedby walls that alternate with considered asanentirelyseparate room. vegetable gardenitssandbox,it’s and of the uppermost floor. Withits pond,its a vastrooftop terrace that takeshalf up Pompeian villa gardens,Ponti conceived reinterpretingand thestructure of the regardingLe Corbusier roof-terrace the room. (…) Finally, echoing the ideas of open volume of the livingroom-dining points of view,large especiallythe to design its living spaces from multiple top-floor apartment makes itpossible services. height The ofthe double intospace three areas: day,night and respectsPontianthe interior divisionof Each apartment has a unique plan that three apartments spread over four floors. The Laporte Houseis subdivided into 1935–36 Milan, Via Benedetto Brin Laporte House accorded. courtyard toimportance whichis equal certain formal sobriety, as interiordoes the balconies decorate thefacade with a panels Obelisks, and spirit. niches, oculi, stylistic repertoire in a “Novecento” daringly reinterprets the neoclassical Milanese commercialmiddleclass, the Borletti, oneofthe greatthe families of eight-story construction destinedfor the architect EmilioLancia, this luxurious realisations. Builtin collaboration with Ponti’sGio veryfirst architectural the Borletti buildingnumbers among and L’Ange volant in Garches in1927–28, Via RandaccioinMilan1924–26 With the apartment buildingin 1928 San VittoreMilan, Via Collaboration with EmilioLancia Borletti Building

press kit Milan © GioPontiArchives, 1936–38 Milan Building, exteriorview, 25. FirstMontecatini and AndreasSütterlin Hans Photographs Jürgen Museum. Vitra Design Bakelite. Weil amRhein, imitation leather, 1938, aluminium, Montecatini offices— 24. Chairsforthe © PaoloRosselli 1931-1936 Rosselli, Milan Photograph Paolo Domus Julia— Domus Carolaand Domus Fausta, 23. Fromlefttoright, resthouse. ofthe are made for beinglived injust like the architect’sbeliefroofs that and facades decoration of thefacadesrecall and the bayand windows constituteminimalist the originality. Balconies, terraces, loggias nevertheless conserves adegree of typology arereduced,building each street.in volumeWhile variationsand transitionbetweenbuildings andthe the landscape.urbanGardens serve asa modern, andcolourful harmonious, a units andcomposeneighbourhood LetiziaVia were conceived to form Modernist aesthetic. The homes in them closer tomorerationalist, the architecture, their essential lines bring numeroustraditional elementsItalian of new architectural style. Despite using point. These able to reflect civilisation at its highest beauty of theworld,mustbe which receptaclea joys ofthe life ofthe and his view,washome anorderlyplace, the various Milanneighbourhoods. (…) In of general contractorslocatedin and designed by Gio Ponti for a number referto agroupresidential ofbuildings The case tipiche (“typical homes”) 1931–38 Milan Case tipiche 24. also inaugurateddomus also a 25. kitchen. to seethe cooks athall workinthe dining workers, a glass partition madeitpossible of the idea of bringing out the best in the basement level. Finally, ever inpursuit bar, deli,clothingstore) were located on dressing rooms, hair salon, pharmacy, available topersonnel after work(library, less thantwenty years.(…)Service areas in populationits double thatsawin acity emerges thefigure of the office worker development of theservice sector there had experienced.Indeed, withthe Milan social changesthateconomic and Bosisio, itbears witness profound Soncini and workPier Giulio supervisor engineers Antonio Fornaroli and Eugenio two years),the collaborationwith of and builtinrecord time (less than the group’s president, Guido Donegani, industrial design inItaly. Commissioned by worlds andcontributedto the advent of revolutionthe architecturalin working and buildingconstitutedoffice a veritable the chemical groupMontecatini, this to thesmallest detailsbyPonti Gio for rationalismimagined down1930s ofthe Exemplary creationMilanese of 1936–38 Milan, Largo Stati Uniti d’America Studio Ponti-Fornaroli-Soncini First Montecatini Building 23.

press kit Milan © GioPontiArchives, glass circa 1933 for FontanaArte 27. Lamp— © Tom Mannion University ofPadua— del Bo, 26. Basilica,Palazzo byPino Casarini. narrow, magnifies the giant walls painted redthe ofand thecolumns,doubly evokedbacksthe banquettes on ofthe that characterizesis elegantly the ceiling great Basilica room, the diamond motif was design and viceversa:the in thus, the container.ForPonti, architecture conceive ofthe content separate as from refusedhis gaze,the acuityofhe forto roomsmain that we can fully appreciate Nevertheless,wasit above the in all Milanese Triennale.the of experience with whom, often,had sharedhe the visits ofworkshopsthe ofthe artists rector,the choiceswith him on guiding architect discussed evensmallestthe tour ofthe courtyard. (…)Inreality, the president’s office, whichcompletes the Mediterraneansoft,the colours ofthe preparesactually thespectator for rhythm ofthe conquests knowledge, of perfectharmony.in This ascent, to the pictorialthe which cyclewith is deployed steps, offer a basic tone inrelationship preciousmarblesthe that decorate the the entirebut monumental staircase, or frescoesnotthe use ofonly colour: the treatment ofthe architecture relies on breadth toproject. the There, too, the up toascentmain floor gives the its entire brightnessFagiuoli’s of courtyard. The suffer intrusionany from blinding the rooms herecreated without having to which madeitpossible to access the del Sapere (“Staircase of Knowledge”), and created a magisterial path, the Scala tookplace for free.(…)Ponti conceived His first intervention in thePalazzo delBo of Padua TraditionUniversityModernity atthe and 26. enjoy today.(…) leading toprestigious the status they thesetwo very different companies, impulse that shapedthe the evolution when you consider that Ponti provided makers. The paradox is even more blatant prominentthesein connectionwith glass surprisingly, Gio Ponti israrely mentioned for Venini and/or Fontana Arte but, renownedtoday because oftheir designs Countless designers andarchitects are Fontana Arte Gio Ponti, behind the Mirror – Venini and forgotten. of the imagination. Alesson that won’t be practicalnecessitiesthe aspirations and perfectpointbetween ofas a equilibrium the past;his classicism isundeniable, but complicatedweave memories of ofthe but it’s also careful to insertitself into the Ponti’s modernityis certainly functional, onto thesurrounding walls. reflected theiraesthetic quintessence 14th-centurythey ceiling,almostif the as mouldings of the consoles that support the medical room, his desks evoke the older spaces where Ponti intervened: in envelope the volumeis also foundin the and participates init. This decision to the heroic narrative deployed around him penetratesin thiswayinto heart theof permeatesofit colour: the visitor, who annihilate,is transformed into a structure Thispaintingspace, could crushor which 27.

press kit © DR Toscana Polo Musealedella Manifattura diDoccia, Richard Ginoridella Sesto Fiorentino,Museo porcelain 1926 Richard Ginori 30. BowlLabyrinth— © DiegoMotto 1931-1932 Mezzanotte, Milan— Stock Market,Palazzo dining roomofthe ceramic tilesforthe 28. &29.Decorationof aesthetic territory. of glass into formerly unexplored endeavoursmanufacturethe opened tobothHis combined companies. to Venini, or his friend Piero to Fontana Arte and Massimo Vignelli of realizing their projects: SaulSteinberg connectedhis students tomeans the Arte or TomasoBuzzi at Venini and associates like Pietro Chiesa at Fontana delegatedtohis colleagues and increasinglythese glasshe companies, a crystal.”Standing discreetlybehind uncorrupted, absolute, definitive like autonomous, uncontaminated, as acrystalmagic, closed,– exclusive, “When architecture ispure, itispure is enumerated many times inhis writings; topure aarchitecture,to crystalform as contactHis elaborationwith. of ananalogy in transforming every material he came in architecture.It was also the driving force foremost motivated by his obsession with FontanaArte orVenini,Ponti was first and workedmaterial,with glass asawith either In thesix decadeshe during which 28. 29. a designer or journalist.a designer or different it fields,whether was working as in diverselife throughouthis contexts and of his career and it stayed with him a taste for ceramics beginning at the firstthis uniquecollaboration, heacquired brand identity and marketing. Thanks to outstanding sense ofrelated all things to RichardGinori’s factory. had an He also position ofthe artisticheld director at of high-qualitymass production, Ponti Domus magazine. A strong defender arts andactedpreludeto asa founding revealedhis vocation promoter as ofthe period fascinatingdesign.interior This industry,the about the decorative arts and during his time there and learnt more field of ceramics. Hegained experience beginning of his career and not just in the PontiGio place for with a training at the The Richard Ginori manufactory provided Gio Ponti and Richard Ginori 30.

press kit © AntoineBaralhé 1953-57 Caracas Villa Planchart 32. View ofthefacade— © AntoineBaralhé 1953-57 Caracas room, Villa Planchart— 31.Double-height living on the hilltopson the of Caracas. magazine, to Domus designto their villa internationallyrecognised thanks byinvitingPonti Gio whowasby then , contributedto this Planchart, collectorsAnala lovers and of or Mexico City. Armando and Latin-American capitalslikeRio de Janeiro wanted torivalmodernity of withthe other Transforming very rapidly, its capital unprecedented economicgrowth. petroleumresources, Venezuelasaw In the 1950’s, strengthened by its 1953–57 Caracas Villa Planchart 31. building inits entirety. thatwatches overthe conservation ofthe home tois thefoundationPlanchart Villa byboat.(…) A total work of art, today, the craft objectswere brought fromItaly the carpentry,furniturethe but also and materials,marble andaluminium, All ofthe tropical vegetation of Venezuela. Italian dream,but thistime amidst the transpositionthe is Planchart of an Villa As with the “Ange volant” inFrance, onto a white background. (…) motifs painted inpink, yellow and sky blue wereunique thanks all to the geometric room. interiorThe doorswindows and main dining the in designs ofthe ceiling entrance hall,but also the multicoloured mosaic floormarble echoed theof libraryroomlounge, smalldining and tolife. The yellowstriped ceilingsofthe the surfaces ofroomsprogressively the A kaleidoscopic play of colours brought (…) series of constantlyspectacles. changing visited from insidein an uninterrupted life-size abstractsculpture be that can mountains. He created this houselike a horizon and the view of the surrounding viewpoints, the openings facing the Ponti favouredmultiplicity of the Throughout1300 thesquaremetres, bay windows created a sparkling surface. daytime, thewhite wallspunctuated with emphasizedthe contours the in and architect. At night, a lighting system finita (finished form) announced by the and conformed toprincipal theof forma on thesummit,finished building off the ofhouse. the Theroof, like sitting a wing screens anddefinedspatial the character the framework appearedlike suspended of the ensemble: elevated walls fixed to lightnessIndeed, waskey the feature letterresuming thefuture owners’ wishes. poised on the hillside”, Ponti specified in a “Your house will be(…) like a bigbutterfly 32.

press kit 1965 © PaoloMonti,Milano, 1960 Milan 33. &34.PirelliTower — removals. (…) nor neither additions thatwould admit (finite finita form) by opting for a volume projectwith thishistheory of the MontecatiniPontibuilding, Gio solidified Followingthe experience ofthe building’s form and structure. concretePonti andadvisedthe on of whomwere expertsprestressedin starting in1954 with PierLuigiNervi,both ArturoDanusso,studio andengineer collaboration between Gio Ponti and his Its construction was thefruit of the inauguration, oneoftallestEurope.the in station,building was, this at thetime ofits ofMilan, across from the central train 31 stories tall,heart situatedin the right destroyedwar.the during 127 metres and place ofproductionin the workshops tyresin rubbergoods, specialising and period, it was built for Pirelli, a company post-warand ofthe euphoria of the symbolA Milan’s of economicdynamism 1956–60 Milan, Piazza Duca d’Aosta Luigi Nervi Egidio Dell’Orto, Arturo Danusso and Pier Collaboration withGiuseppe Valtolina, Studio Ponti-Fornaroli-Rosselli Pirelli Tower forma 33. 34.

press kit Milan © GioPontiArchives, in Sorrento dei Principi— 36. LobbyofHotelParco Milan © GioPontiArchives, Ceramica D’Agostino dei PrincipiinSorrento factory forHotelParco Ceramica D’Agostino 35. Ceramictilebythe 35. room unique. different floors, sufficient make to each made itpossible to obtain hundreds of assembled and arrangedin different ways, decorated inblue and white motifs which, tiles20thirty of centimetresside per aid of Ceramica D’Agostino inSalerno, hotel.inside theHe developed, withthe welcomingif theexternal environment immersedthe eye whiteblue,in as and Ponti optedfor achromaticthatsolution hotel asacomprehensivework of art. Pontiimplementedhis conception of the in Copenhagenseveral years earlier, Gio designed the Radisson BluRoyal Hotel Arne ofDane Jacobsen, who the hotelsin general.Following the example Mediterraneanthe residence andon renewed hisresearch of the 1930s on theseWith commissions,thearchitect (1961–64). well as its companion structure inRome Parco dei PrincipiinSorrento (1960), as moreonce for the creation ofHotel the Fernandes, solicited hisintervention Hotel inNaples, its owner, Roberto interiorRoyal design ofthe Continental AfterhavingPonti Gio supervisethe 1960 Sorrento of the Hotel Parco dei Principi Interior Design manufacturer Richard Ginori. (…) became artistic directorporcelain ofthe material beginningin1923 when he began to familiarisehimself withthis creation of tiles for floors andHe walls. objectsbathroom and fixtures to the the design oftableware, decorative a system ofindustrialproduction, from cultural traditionintegrate and into them toreformulatehim elementsItalian ofthe unparalleled experimentationthat allowed Ceramics were forPonti Gio a site of Interior Design Ceramics Applied to Architecture and SurfacesColours and middle ofin the thewater.island an fromwhich emerges board adiving on “as a reflecting pool for wood nymphs,” where Ponti imagined a swimming pool metaphor is continued in the hotel’s park grottoBaroque wallsin gardens; this by Ceramica Joo. Thelatter recalled the FaustoMelottithe ceramic and shingle visitors in the entrance were madeby The ceramicplates that welcomed 36.

press kit Milan © GioPontiArchives, Ceramica D’Agostino dei PrincipiinSorrento factory forHotelParco Ceramica D’Agostino 35. Ceramictilebythe Parco dei Principihotels (…) (1960–64). (1957–64),Nemazee57), the Villa the and exterior(1953– Planchart walls attheVilla which heused to cover both interior and the traditionalmosaic shingleofLiguria, reinterprets,for onceagain Ceramica Joo, tessellationin theshape of shingle,Ponti in various degreesrelief. of With coloured combines four sorts of emerald-green tiles Montedoria building(1964–70) inMilan Evenmore complex, thefacade of the Villa Arreaza in Caracas, “LaDiamantina.” evenresponsible fornickname of the the his religious and private structures; it was recurrently(1955–60), wasutilised for church of SanLuca Evangelista inMilan first appearance the on facade the of facades. itsThis made finishing,which changing sunlight and thus animate the to their glistening texture, capture the to exterior walls, these tiles, thanks bossesRenaissancepalaces: of applied reinterpretedhe the diamond-shaped Passing from a flat surface to reliefs, forMilanese firmCeramica the Joo. line of diamond-point colouredtiles material, in1956–57 he created a Continuing his exploration into this Ceramics Cooperative. 1953,the artistic directorImola ofthe became,this worldhe fromas 1946 to Afterwar,the Ponti onceagaindrewfrom 35. Hing department store in1977–78. to cover thefacade ofShui the A similarsolutionwasbuilding. adoptedin protagonistbecame thetrue and of the “stole theshow” from the architecture irregular forms ofrooms. the Thus thefloor were employed andadaptedto the .Polychrome geometric designs newspaper in floors headquarters the of Austrian the of “hymnto designedto acolour” dressthe dei Principi(1960). Fifteen years later, he all the rooms of the Sorrento’s Hotel Parco Thanks toPonti thissolution,personalised torise overhundred adifferent decors. whites,and which, onceassembled, gave both geometric and vegetal,blacksblues, D’Agostino, designingthirty-three motifs ceramicproducer, Ceramica renewedHe alsorepertoirethe ofthe 35.

press kit Mai 1964 n. 414 38. Domuscover— Milan © GioPontiArchives, 1964–70 Taranto — 37. Cathedral,exterior, tointeriors. designthe he enlistedadvice, NandaVigo designer the province of Vicenza. Following Ponti’s own version of the “Beetle” inMalo, in Giobatta Meneguzzo commissioned his 1966,the avant-garde In artcollector and sun. roofprotects thefacades fromrain the leafa fallen to the ground,itsprojecting like a beetle with its shell. Imaginedlike surroundinglandscapeit, andfusewith facing was supposed to absorb the home’sthe choiceofand the colouring, roof. Thanks tobrilliance of the thetiles inside andoutside,the including both coveredwhitein andgreen ceramictiles, scale. Thissmall oval washouse entirely which hepresented to readers on a 1:50 foglia (Beetleunder a leaf ), the layout of prototype entitled Lo Scarabeo sotto una forplan familyhome, a a Domusa of In 1964, Gio Ponti publishedin the pages 1964 Plan for house a family ScarabeoLo sottouna foglia 37. church. “One,lesser the one, for entering the by opting for the creation of two facades: Milanese the architect solvedproblem the characterbarenessboth of andgrandeur, toneed Faced givewith thecathedral a stone dentils ofGothic cathedrals. austerityFranciscan of spirituality, the and ofPuglia’s traditional architecture, the reflection:his accompanied thewhiteness sacred. Multiple sources of inspiration thattransmitted his conception ofthe Milanese architectthe arrived at adesign building was reworked repeatedly until in 1964 to its inauguration in1970, this Gio Ponti to create it.From its genesis MotoleseArchbishopGuglielmo chose Arts,project, chargedthe with and International Institute of the Liturgical wasthe city which expanding. The centrenew closerto directionthe in toneed born outofcreatethe religious a Theproject of the Taranto Cathedral was 1964–70 Taranto Studio Ponti-Fornaroli-Rosselli Cathedral and artdealers oftime.the forplace the artists, a gathering artcritics after its inauguration, this housebecame decorate thewalls of the entryway.Soon monochrome was created specifically to and Raymond Hains. Amonumental white Fontana, Agostino Bonalumi, Julio Le Parc contemporary art withworksbyLucio fur,importanthoused an collection ofit itsforspiral staircase coveredin grey Completelyin white tiled and famous 38.

press kit Milan © GioPontiArchives, private collection Milan steel, leather 1971 39. Gabrielachair— weather. varies continuously accordingto the the subtle play between light and shadow sky to filter in. This way, perception the of wallimmensity ofdouble the andallowthe Hexagonal-shapedperforate openings this position, in the middle of the building. wall41metres tallrising from a withdrawn surmountedby acurtain, adoublecement rectangular-planofwith a ship a nave building eventuallythe took theshape and Taranto’sark tradition, maritime presence of God.”Referencing biblical the ‘dimension’mystery ofthe ofthe eternal open onto‘the vastness,’is the which ‘for[…] with theeightyair’ windows only to the view and thewind: a facade The other,the greater one, accessible 39. transparency. drives to the extreme thistension towards light merge to become“metamaterial,” still openwork silhouette, wherematerial and transmit the architect’s Butthe vision. surrounding nolonger, unfortunately, the cathedral’sneighbourhood, immediate todue the chaotic development ofthe plants to supplythe garden. Today, followinginauguration,the offered the citizens of Tarantoimmediatelywho, and thesky. Thisintent was graspedby conception, symbolicallyEarthlinking the coveringpantheisticthe curtainina and, the green”4plantspartially of climbing was supposed to be as if“attacked by interiorthe and exterior. The cathedral more intense tones poetically unite coversbays the and thefloortilingwith church’sinterior: thealmondgreen that Green is the prevailing colour in the traversing thefacade.(…) twothe vibratoryrays qualityofthe light of pool composed ofthreelevels in splits frontIn Eden. ofthe cathedral, reflecting a appearance wouldrecall theGarden of island of greeneryunconstrainedwhose Around thestructure,Ponti imagined an from yellowto green. simple décorofflat tints of colour ranging building’sthe In interiorhe alsoopted for a extension ofMediterranean the tradition. certainplaces, andacoat ofthe whitein quality: reinforced concrete, left visible in Pontimaterials chose of anaustere

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(…) and airyarchitecture, designedto capture publication of Gio Ponti’s last works, light Thebeginning of1970s the witnessed the years4.” times passion!) comfort20a me attheageof and industry: “These furnishings (what his irrepressible love for craftsmanship back” or “narrow-seated,” which revived new“that’s commission,a chair all he sharedhis In Domusenthusiasm for wasstill overflowing withcreative energy. five years.” Gio Ponti, whonearly 80,was formagazine thirty- agood this has guided lovementor,man andasa asa who and was dedicated to the director,“whom we The 500thissue of Domus,in July 1971, 1970–79 Ponti and Gio Domus

press kit June 1951 n. 259— 50. DomusCover May 1951 n. 258— 49. DomusCover December 1940 n. 156— 48. DomusCover August 1940 n. 152— 47. DomusCover December 1939 n. 144— 46. DomusCover February 1939 n. 134— 45. DomusCover March 1938 n. 123— 44. DomusCover October 1931 n. 46— 43. DomusCover June 1930 n. 30— 42. DomusCover September 1929 n. 21— 41. DomusCover January 1928 n. 1— 40. DomusCover September 1963 n. 406— 58. DomusCover June 1961 n. 379— 57. DomusCover March 1960 n. 364— 56. DomusCover May 1956 n. 318— 55. DomusCover March 1956 n. 316— 54. DomusCover February 1954 n. 291— 53. DomusCover January 1953 n. 278— 52. DomusCover November 1952 n. 276— 51. DomusCover August 1974 n. 537— 64. DomusCover September 1969 n. 466— 63. DomusCover January 1968 n. 458— 62. DomusCover October 1967 n. 455— 61. DomusCover July 1966 n. 440— 60. DomusCover July 1965 n. 428— 59. DomusCover October 1979 n. 599— 67. DomusCover January 1978 n. 578— 66. DomusCover June 1975 n. 547— 65. DomusCover

press kit – design Exhibition of Jean-Michel Wilmotte and his agency Wilmotte &Associés. The exhibitionwas design conceivedthanks tothe expertise named Best European Museumin2015. Rijksmuseum inAmsterdam (), of IslamicArtinDoha(Qatar); and the Musée d’Orsay inParis; the Museum including: theGrandLouvre and the through its designs for majorinstitutions, field the expertisein of exhibitiondesign Wilmotte &Associés has developed its as part of the 2015 European Games. and an ecological park in Baku, Azerbaijan, convention center in São Paulo(); Maranello();in anexhibition and the Ferrari SportingManagement Center headquarters ofGoogle and JCDecaux; Unilever inRueil-Malmaison; the London Versailles;headquartersthe ofthe group Allées Richaud and Allées Foch in in SouthKorea; the luxuryresidences Daejeon culturalthe Nice; centerin the groupL’Oréal in Clichy; thestadium the Hotel Lutetia; the headquarters of start-uprenovationthe – and campus of Center, Station F– the world’s largest Russian OrthodoxSpiritual and Cultural Among hismany designs are: inParis, the Industries. Associés and the design studio Wilmotte& comprises twobranches: Wilmotte& collaborators25 of different nationalities – Today, his agency – which counts 270 architectureprojects.urban design and orienting himself towards large-scale diversifedhis expertise,his activities and years,has continually developedhe and museums. Overmoreand thanforty projects,for and designing culturalspaces for contemporary architectural grafting of culture, hehas a particular fondness Paris in1975. An academic and a man Camondo,his ownfounding agencyin interior(Belgium)École and design atthe École Supérieure des Arts Saint-Luc Wilmottestudied architecturethe and Architect anddesigner Jean-Michel Jean-Michel Wilmotte genius. waysthousand andone toperceive his creativeworkPonti by ofGio offering a succeeded inpursuing a posteriori the it isinventive, Jean-Michel Wilmotte has interventionIn this is thatas sensitive as materials. emphasizing gestures,forms, colors, and “augment” it, by widening its scope and “direct” the experience,ratherbut to for the audience.He notdoes seekto his designstolifethe artisttobring and between worksbreathing and spaces plays withtransparency,resonanceslight, Tarantocathedral, Wilmotte Jean-Michel reconstructionpartial and the of the height with the podiumsin the mainhall Takingfull advantage building’s ofthe immersion. togetherwhich offer acomprehensive powerfulretrospective,sequences anda exhibition design articulated aroundthree careerworks400his of and through an invites the visitor to discover the artist’s longtime admirerPonti’s ofGio – work Jean-Michel Wilmotte –himself a The exhibition design grafting”. to the promotion of “contemporary Wilmotte Foundation in2005, dedicated buildings. Tohe createdthis end, the conservationrestoration and historic of architectsissues about surrounding the wishestoraise awareness among young preserving ourculturalheritage and Jean-MichelWilmotte cares deeplyabout

press kit – partnersSponsors and Décoratifs of the Musée des Arts The Friends including architecture, design, for over fifty years numerous in fields, research that theundertookdesigner an initiative to promote the precious manufacturers), Molteni&C haslaunched exceptionrights of accordedto other furniture designed by Gio Ponti (with the reeditionexclusivitysale ofthe and in all heirs,provides which for worldwide Thanksto anagreementbyPonti’ssigned Molteni Museum. Pontibelonging to the collection of the severalbypieces designedGio original notsponsor, onlyasa bylending but also Molteni&C isparticipating in the exhibition work ofthe great master. exhibition ever presented inFrance on the Ponti:Ponti,Gio archi-designer,the only pleasedtoits supportof is announce Tutto UniforCitterio, and groupDada, alongside Molteni&C,Molteni acompanythe within has allowedthe generosityFriends ofthe under the initiative of HélèneDavid-Weill, theorganization’s Since financing. creation submits the variousprojects require that overviewundertaken ofthe actions and the Boards, the institution presents an Severaltimes a year,in conjunctionwith the institution among American patrons. organization dedicated to fundraising for Décoratifs” is a New York-based non-profit “The Friends of the Musée des Arts Athem, a MADpartner, on October 18th,19th, 20th and 21st from 7:30pm. The façade of the museum will bebrought to life with a projection mappingproject by the exhibition’s opening-day event. We wishtoAmorino,Ferrero, thank Campari, MEESOO and Yuta for their contributions to Décoratifs through a sponsorshipin top-qualitypaint. French cultural heritage sites, is a participant in the renovation of the Musée des Arts manufacturer of professional paints involved in the preservation and renovation of providedits supportforlighting theof the exhibition spaces. JEFCO,French a Value-in-kind sponsors :iGuzzini, a manufacturer of technical lighting apparatus, Jean-Michel Wilmotte and his agency Wilmotte &Associés. Skills-basedsponsors : The exhibition designwas conceivedthanks to the expertise of #TuttoPonti_MAD #GioPontiArchives #MolteniGroup of furniture in21 variations. new pieces every year, includes 14pieces Collection. The collection,with enriched form part of the Molteni&C Heritage 1970s,between1935the and today and accessories designed by Gio Ponti Associati,& comprisesfurniture and artistic direction ofthe agency Cerri the Gio Ponti Archives and under the collection, realized in collaboration with prototypestudies. The and selection following a longprocess of research, limited– pieces oraseditions a-kind models created– byPonti asone-of- furniture resultedprojecthas in acollection of publishing. applied arts and reeditionThe would not have beenpossible. their faithful support,these twoprojects à travers unnouveau parcours”. Without histoirefolle“La designer” and dudesign, exhibition “Tutto Ponti: Gio Ponti, archi- major projects highlighting design: the associated withtwo ofinstitution’s the Again this year,Friends wishedtobe the restorations andexhibitions. numerousprojects,wellas asacquisition for the reopening of the museumin2006

press kit the Musée des Arts Décoratifs. Designer”,the exhibition-tribute hosted at the project “Tutto Ponti, Gio Ponti Archi- 1933,has chosenmaison to the support director ofManufacture the from1923 to Ponti,RichardGio Ginori andartistic To confirm theinseparable bondbetween icon of ‘MadeinItaly’ excellence. fashionhas established anditself asan fields the in ofarchitecture, design and has longbeen associated with key figures Kering Group2013, since Richard Ginori and isrecognised worldwide. Part of the manufacture of premium-quality porcelain epitomeItalian of excellencethe artisticin more280 than years,Richardis the Ginori traditionrich historyWith aand spanning Manufacture’shistorical archive. shapesthe originalanddesigns ofthe first time by Richard Ginori, recovering embassies,recently re-edited for the - thetableslunches ofmostimportant the oftwentiesthe to decorate- duringgala Ginori Manufacture in the second half the Italian Foreign Ministry to the Richard purebywith detailsin gold,commissioned composition ofwhiteporcelain objectsin d’Italiathe centerpiece,, anamazing and Trionfole ambasciateper tavola da timelessFattucchiera, a design object; traininghis asanarchitect; famous works ofMaster the reveals that Vaso Prospetticamost, oneofthe Egyptians, until reaching the Renaissance; starting from theGreeks,Romans and decoration style tracemillennia ofhistory delle Architetture, wherePontiano the among them: Over 30 works by Richard Ginori exhibited VasoDonne e delle Mano della

press kit 68. 69. 70. 71. 74. 73. 72. 75. 76. 78. 80. 79. 77.

press kit 81. 85. 83. 82. 86. 84.

press kit © Vincent Thibert Christofle Heritage Silver metal 1953-1957 For Christofle Pastille — 74. ServingSpoonandfork © Tom Mannion Gallery Courtesy Nilufar wood, imitationleather 1951 Triennale deMilan— presented atthe9th 73. Triennale armchair © Tom Mannion Private collection brass andenamelled 1960 produced byLumi 72. Wall lampmodel575— Milan © GioPontiArchives, Milan, courtesyErmesPonti 1970, Formica,wood,brass 71. FoldingtableApta— © GioPontiArchives,Milan Walnut Giardino Produced byCasae 1936 70. Scrollbackchair— Polo MusealedellaToscana. Manifattura diDoccia, Richard Ginoridella Sesto Fiorentino,Museo agate burnisher decor highlightedwithan porcelain, handpainted 1935 for RichardGinori— fattucchiera (Witch’s Hand), 69. Lamanodella Produced byVenini, Murano 1946-1947 68. Bottle— Planchart Foundation Anala andArmando Caracas, © AntoineBarahlé Walnut Chiesa Produced byGiordano 1954 Caracas 79. Office, Villa Planchart— Milan © GioPontiArchives, collection Berlin, JochumRodgers metal produced byArtémide 1967 78. Fatolamp— Lino Sabattini Paris, Bregnano,collection 1978 Sabattini — 77. PiecesforLino Milan © GioPontiArchives, metal, glass 1931 for FontanaArte 76. Bilialamp— Milan © GioPontiArchives, 1957 75. Superleggerachair— Milan © GioPontiArchives, in Sorrento Principi — 83. LobbyatHotelParcodei Foundation Armando Planchart Caracas, Analaand © AntoineBaralhé 1953-57 Villa planchart,Caracas— 82.Outside diningroom, Planchart Foundation Anala andArmando Caracas, © AntoineBaralhé 1953-57 planchart, Caracas— 81. Livingroom,Villa © Tom Mannion Milan, privatecollection. 1946, papermaché dal Monte for EnricoeGaetano 80. Mirror— © DR Maurizio Eliseoarchives, class lounge— Andrea Doria,mainfirst 86. Transatlantic liner Milan © GioPontiArchives, 1964 from theswimmingpool— 85. View ofVilla Nemazee Milan © GioPontiArchives, Tehran 1964 Nemazee — 84. LoungeatVilla

press kit – public for the Activities www.weezevent.com Vivez lézard: Reservations on thewebsite/ 01 445559 26 Information: Thursday, November 8th,6:30-8:30 Tutto Ponti, Gio Ponti archi-designer “VivezLézard” event year-olds18-25 For www.madparis.fr Reservationswebsitethe on / activities: 01 445559 25 /[email protected] Information: Price: 12 € designers, and Gio Ponti inparticular. workbasedthe 20th-century onofgames and design through form and surface the relationship between architecture Thisinvites activity childrento discover Archidesign Workshop 7-10For and 4-6 children following: activities servicespublic departmentThe offers the

press kit Useful information −

— Press contacts — MAD — École Camondo Isabelle Mendoza Pierre-Alexis Dumas, President René-Jacques Mayer, Director Anne-Solène Delfolie Sylvie Corréard, General Director 266 Boulevard Raspail, 75014 Paris + 33 (0) 1 44 55 58 78 Pascale de Seze, +33 (0) 1 43 35 44 28 [email protected] Director of Communication — Ateliers du Carrousel — Chief curator — Musée des Arts Décoratifs Fulvia Di Pietrantonio, Director Olivier Gabet, Director of the Olivier Gabet, Director of the 107 rue de Rivoli, 75001 Paris museum museum 266 boulevard Raspail, 75014 Paris 107 rue de Rivoli, 75001 Paris 63 rue de Monceau, 75008 Paris — Curators +33 (0) 1 44 55 57 50 +33 (0) 1 44 55 59 02 Dominique Forest, Contemporary Métro : Palais-Royal, Pyramides, & Modern department curator Tuileries — 107RIVOLI, boutique-bookshop Sophie Bouilhet-Dumas, Open Tuesday to Sunday 11.00– 105 rue de Rivoli, 75001 Paris Bouilhet-Dumas Studio 18.00 (Late opening Thursday +33 (0) 1 42 60 64 94 Salvatore Licitra, Gio Ponti Archives until 21.00: for exhibitions and the Open 11.00–18.30 Director Jewelry Gallery only) Late opening Thursday until 21.00 Assisted by Francesco Pastore → Full rate admission: 11 € Closed Monday → Reduced rate admission: 8,50 € — Assistant curator — Restaurant Loulou Chiara Spangaro, Independent — Musée Nissim de Camondo 107 rue de Rivoli, 75001 Paris curator, Art historian Olivier Gabet, Director of the or access via the Carrousel Gardens museum Open daily 12.00–02.00 — Scenography 63 rue de Monceau, 75008 Paris +33 (0) 1 42 60 41 96 Wilmotte & Associés +33 (0) 1 53 89 06 40 Open 10.00–17.30 — Restaurant Le Camondo — Graphic design / Signage Closed Monday and Tuesday 61 bis rue de Monceau, 75008 Paris Italo Lupi → Full rate admission: 9 € Open Tuesday to Saturday midday → Reduced rate admission: 6.50 € to midnight and Sunday during the — Graphic design / Communication day+33 (0) 1 45 63 40 40 BETC — Library 107 rue de Rivoli, 75001 Paris — Internet and social media +33 (0) 1 44 55 59 36 madparis.fr Open Tuesday to Friday 10.00– facebook.com/madparis 18.00 twitter.com/madparisfr instagram.com/madparis — Audience engagement, mediation and cultural development The Educational and Cultural Department organizes museum tours for adults, groups and individuals, → Reservations: +33 (0) 1 44 55 59 26 thematic workshop-tours and guided tours related to an exhibition for 4 to 18 year-olds, → Reservations: +33 (0) 1 44 55 59 25 and lectures and panel discussions → Reservations: +33 (0) 1 44 55 59 75