Description: DOMUS 326: Gennaio 1957 Gio Ponti [Editorial Director] Poul Kjaerholm | Textiles USA | Cesare Pea | Charles Eames Photos of "Textiles and Ornaments of India" | Gio Ponti | Guido Gambone | Lino Sabattini | Ernesto N. Rogers | Alberto Mazzoni | Bruno Munari Fold-Out | Alexander Girard, etc. Gio Ponti [Editorial Director]: DOMUS 326. Milan, Editoriale Domus: Gennaio 1957. Original edition. Text in Italian. English and French translation summary. Slim folio. Thick photographically printed perfect bound wrappers. Side stitched textblock. 56 [iv] pp. Articles and advertisements. Multiple paper stocks and inserts. Elaborate graphic design throughout. Wrappers lightly worn and soiled, and spine ends worn and chipped. Yellowing to page edges, but a very good or better copy. 9.75 x 12.75 vintage magazine with 56 [iv] pages printed on a variety of paper stocks of black and white [and some color] examples of the best modern interior and industrial design, circa 1957 -- with beautiful engraving and gravure printing throughout. Long considered Europe's most influential architecture and design magazine, Domus was founded by Gio Ponti in 1928 as a "living diary" in which he could advertise his own work, outline the "aims" of his projects and raise people's awareness about other design issues. Called the "Mediterranean Megaphone, " Domus lauded mass-production and tried to link architecture and artisans in a new, unforeseen ways. Ponti left Domus in 1940 to start his other journal, Stile in which he could focus on art and the impact of the war on Italian architects and architecture. In 1948 Ponti returned to Domus, where he recast it in his own eclectic, exuberant vision of the modern and tirelessly championed designers he admired, notably Carlo Mollino. Contents: Fold-out of an Imaginary House by Bruno Munari! House at St. Remy-les-Chevreuse: Andre Wogenseky, Architect A House and its Garden in Tuscany: Alberto Mazzoni, Architect An Architect for Himself: The Apartment of Ernesto N. Rogers in Milan Attic Apartment: Giorgio Wiskemann and Yolanda Wiskemann Collamati, Architects Lorenzo Guerrini, Sculptor by Mario Negri Artists and Architects: The Announcement of a Show in Paris Ceramics by Gio Ponti, Guido Gambone, Lino Sabattini, Romano Rui, Paolo Di Poli, Salvatore Fiume, Fausto Melotti, etc. Furniture from Denmark: Poul Kjaerholm Textiles USA at the Museum of Modern Art: Bernardo Rudofsky, Architect Indian Textiles: A Show at Palazzo Grassi in Venice -- Cesare Pea, Architect with interiors by Alexander Girard Photos by Charles Eames of the "Textiles and Ornaments of India" Exhibition: Designed by Alexander Girard for the Museum of Modern Art for summer of 1955. Pieces selected by Edgar Kaufmann in India. and more. Domus was founded by Gio Ponti in 1928. During the start of the global economic depression in 1929, Ponti agreed to let the 23-year-old publisher Gianni Mazzocchi take over Domus and established the Editorial Domus publishing house. The first issue of Domus, subtitled "Architecture and decor of the modern home in the city and in the country," was published on 15 January 1928. Its mission was to renew architecture, interiors and Italian decorative arts without overlooking topics of interest to women, like the art of homemaking, gardening and cooking. Gio Ponti delineated the magazine's goals in his editorials, insisting on the importance of aesthetics and style in the field of industrial production. Mazzocchi and Editoriale Domus took over Casabella in 1934, entrusting its direction first to Franco Albini and Giancarlo Palanti to overhaul the editorial focus on traditional interior design. Then Giuseppe Pagano Pogatschnig teamed up with art critic Edoardo Persico and transformed Casabella into a mouthpiece for the latest art and design trends. With intuition that allowed him to see far beyond his times, Gianni Mazzocchi successfully conceived and established magazines and journals that have contributed to shape the history of Italian publishing. Gio Ponti [Italian, 1891–1979] excelled at painting as a child and expressed a fervent interest in the arts. Feeling that a career in architecture was preferable to that of a painter, Ponti’s parents encouraged him to pursue the former and in 1914 he enrolled at the Faculty of Architecture at the Politecnico di Milano. His studies were interrupted by war, and in 1915 he was forced to postpone his education. He served as a captain in the Pontonier Corps until 1919, earning multiple military honors. After graduating in 1921, Ponti married Giulia Vimercati, the daughter of local aristocracy and started an architecture firm. During this time, Ponti aligned himself with the neoclassical movement, Novecento and championed a revival of the arts and culture. In the 1920s Gio Ponti revolutionized the production of Richard Ginori with ceramic pieces, as he describes “of vaguely neoclassical inspiration, with Etruscan suggestions, turned toward the modern with ironic elegance.” Finely executed, Ponti’s works for Richard Ginori were widely admired at the 1923 Biennale in Monza so much so that he was named artistic director for the company that same year. At the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris just two years later, Richard Ginori was awarded two grand prizes, one for Ponti and his ceramic designs. Ponti renewed artistic expression with a modern take on classical ornamentation and decoration, forms that had once been forgotten were newly found, architecture and lively figures graced his objects. Further, his works illustrated a collaboration of art and industry as his designs were increasing applied to functional forms and not just decorative objects. Under Ponti’s direction, Richard Ginori became widely acclaimed in Italy, recognized for their precision in design, study in detail and perfect execution. During his tenure at the firm and in the years following, Ponti would create more than 400 designs. In 1928, Ponti founded Domus, a periodical tailored to artists and designers, as well as the broader public. A shift occurred in the 1930s when Ponti took up a teaching post at his alma mater, the Politecnico di Milano. In search of new methods to express Italian modernity, Ponti distanced himself from the sentiments of Novecento and sought to reconcile art and industry. Together with the engineers, Eugenio Soncini and Antonio Fornaroli, Ponti enjoyed great success in the industrial sector, securing various commissions throughout Italy. In the 1950s, he gained international fame with the design of the Pirelli Tower in Milan and he was asked to be a part of the urban renewal of Baghdad, collaborating with top architects from around the world. His 1957 book, Amate l’architettura, is considered to be a microcosm of his work —an incredible legacy spanning art, architecture, industrial design, publishing and academia. In his 1957 book Amate L'Architettura (In Praise of Achitecture) Ponti extolled his audience to "Love architecture, be it ancient or modern. Love it for its fantastic, adventurous and solemn creations; for its inventions; for the abstract, allusive and figurative forms that enchant our spirit and enrapture our thoughts. Love architecture, the stage and support of our lives." This spirit reverberates through every page of Domus. Please visit my Ebay store for an excellent and ever-changing selection of rare and out-of-print design books and periodicals covering all aspects of 20th-century visual culture. 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Price: 75 USD
Location: Shreveport, Louisiana
End Time: 2024-10-10T18:07:11.000Z
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