THE FIFTIES: THE THEORY OF "THE FINITE FORM"

It was in 1954 that Ponti published, with Daria Guarnati, the first book dealing with his own work, and he called it Espressione di Gio Ponti.He had reached the point where he could take a critical look at his own history as continuity of an individual expression. And he did it at the moment when this expression appeared to have been unified by a theory about form (for the first time): the theory of the finite form. Ponti perceived the form of each of his projects in his own terms from essentiality to expressiveness, illusoriness, and structural invention (but with him theory too was an invention).

In the fabulous fifties, very productive years for Ponti in the fields of both architecture and design, before and after the Pirelli Tower, 1956, which represented their climax, before and after his great journeys (to Brazil, Mexico, Venezuela, the USA, and the Middle East) Ponti's works from car bodies to skyscrapers had a formal relationship with each other; they came from an imaginative treatment of form that evolved out of itself. In this creative and individual manner, Ponti opposed both recourse to the existing context and the international style terms of the debate under way at that time.

Gio Ponti was in his sixties. They were years in which the masters, from Gropius to Le Corbusier, gained a new vision, as masters/non-masters, on the new world scene. During the fifties Ponti's studio in Milan and the magazine Domus gradually turned into international workshops, against a background of explosive growth in the world of both architecture and design. Ponti's book from 1945 (L'architettura è un cristallo), republished in 1957 became Amate I'architettura, his diary-cum-notebook of ideas, and was soon translated into English In Praise of Architecture and Japanese.

During these years Gio Ponti was associated with the engineer Antonio Fornaroli and the architect Alberto Rosselli, in the Studio Ponti Fornaroli Rosselli, 1952-76.

From "Gio Ponti, l'opera" by Lisa Licitra Ponti,1990, Leonardo Editore

  1.  
  2. Interiors for the San Remo Casinò
    1950
    San Remo (Imperia)
  3. Furniture for M.Singer & Sons
    1950
    New York (U.S.A.)
  4. Vembi-Borroughs offices
    1950
    Genoa, Turin, Florence, Padua
  5. 1950
  6. 1950
  7. 1950
  8. 1950 - 1958
  9. "Conca" cutlery for Fraser
    1951
    New York (U.S.A.)
  10. School complex
    1951
    Chiavenna (Sondrio)
  11. 1951 - 1957
  12. Villa Arata
    1952
    Naples
  13. Furniture for Nordiska Kompaniet
    1953
    Stockholm (Sweden)
  14. Furniture for Carugati
    1953
    Rovellasca (Milan)
  15. 1953
  16. 1954
  17. Davila building and furniture
    1954
    Caracas (Venezuela)
  18. "Diamond" cutlery for Reed & Barton
    1954-1958
    Newport, Massachusetts (U.S.A.)
  19. Villa Planchart
    1955
    Caracas (Venezuela)
  20. Edison electricity plant
    1955
    Pantano D'Avio (Trento)
  21. Villa Arreaza
    1956
    Caracas (Venezuela)
  22. Door handles for Olivari
    1956
    Borgomanero (Novara)
  23. Beracasa furnishings
    1956
    Caracas (Venezuela)
  24. 1956 - 1962
  25. Relief tiles for Ceramica Joo
    1956-1957
    Limito (Milano)
  26. 1957
  27. 1957
  28. Project for the Villa Gorrondona
    1957
    Caracas (Venezuela)
  29. Office Building in Baghdad
    1957 - 1958
    Baghdad (Iraq)
  30. 1957 - 1964
  31. 1958
  32. 1959
  33. 1959