The Italian Retreat from Modern Architecture

‘The Italian Retreat from Modern Architecture: Gig Pont', Nonlinearity and others Italy is decentralized in Europe, south side ripping Transition Interview Difficult position in the way they accept refugees, pressures Italy have never been absolute 1860- unified by man but not unified in region, approaches to life, culture and language vary great amounts between cities of Italy. 1959?Renee Bonham Nonlinearity, the Italian retreat from modern architecture Attacking individualistic new Italian architects that were trying to be dedicate in the way they developed architecture, Just interested in themselves Guide Canella, a page from the article on the ‘Amsterdam School' Renee Bonham, conclusion of his article in The Architectural Review Ernest Nathan Rogers, ‘Continuity' o crisis? ‘ (Continuity of crisis? ), Isabella, no. 1 5, April-May 1957 early 20th century example of modern architecture, not an white clean architecture of machine Bonham is English, cannot unde rstand how Italians perceived architecture, they did not see it was something that could revolutionize or save the world. ‘Nonlinearity the type of architecture that was used in certain parts of Europe around he end of 19th century beginning of 20th common ground, trying to shift from 18th and 19th century architecture but was not interested in architecture as a machine and that direction Bonham is much more black and white, Isabella, no. 1 5, April-May 1957, content page with image of project in El Heaver by Pepper Eduardo Persist, Salad Della Aviators (Victory Room), VI Triennial, Milan, 1936 Adulterate Liberal, Case Maladapted, Capri island, Naples, 1938-40 Window Frames- full of matter Floor- not a functions type of modernist Window back of fireplace, sense of merging with the sun and the yellow orange lames of the fire. Onto born 1891-1979, generation of El Sorbs product of Italy TM most prominent architect that tried to understand bourgeois importance of discussion rathe r than getting to a point founder and director of Dooms magazine director of Stile magazine Gig Point, Mate laureateship (In praise of Architecture), book, 1957, cover page Gig Pont', Laureateship e' UN Cristal (Architecture is a crystal), (a publication that was published a bit earlier) Stile magazine, cover page Misaims Campaign, portrait of the Point family, painting ads for Richard Ignoring products, Dooms no. 1 GIG point,Gig Pont', kitchen plates for Richard Ignoring, 1923-25 , Vase, ceramic work Gig Pont', Hands, ceramic work House in via Rancid, Milan, 1924-26 point, Gig Point, House in via Rancid, Milan, 1924-26 point, Vile Boutique, Searches, 1925-26 El Couriers, Vile Stein, Searches, 1927 Comparison of two houses El Sorbs machine type of plan Built same time but different era's Gig Pont', Vile Bouillon, Searches, 1925-26, view Gig Point, House in Via Domenici, Milan, 1928-30 Gig Pont', House in Via Domenici, Lantern on the rooftop Fillips Brucellosis, Lantern on top of dom e, S. Maria del Floor, FlorenceGig Pont', Graphic and Textile design work Gig Point, Graphic and Textile design work Gig Point , Aria Italian magazine, cover page Gig Point, ‘Dooms Serene', Via De Togging, Milan, 1933-36, facade Dooms Latin word for house Vs.. El sorbs towards a new architecture, you can see the difference between the two Gig Point, ‘Typical Houses' Via De Togging, Milan Gig Point, ‘Dooms Julia', Via De Togging, Milan, 1931-34, fade rooms in houses were only allowed to be so big in order to help deal with the demand for housing Point created the idea of using a partition in the middle of a room to create two roomsItalians don't have second hand shops because they keep everything, would never see a garage sale etc.. Even stay in the same house windows that frame views Gig Pont', Marmot House, Milan, 1933-36 works with curtains, works with lots more things than ‘Just the wall' believed designing furniture was part of the architecture , Domestic space, exhibition installation at the 6th Triennial, Milan, 1936 GIG point dinner set, sass Gig Pont', dinner set and tablecloth, sass Gig Point, dinner set and tablecloth , Ferreira company, chairman office, Rome, 1936 Vendetta Furnishings, (an ‘organized wall'), Milan, 1938 Amour Belle', ‘Table- container', prototype, Ghetto-Ambient Exhibition, Association J.Voodoo et Bruno Danes, Milan, 1994 Calvin, Merlin', Mayo, Window-screen', prototype, Ghetto-Ambient Exhibition, Milan, 1994 Calvin, Merlin', Mayo, Window-screen', prototype, Ghetto-Ambient Exhibition, Milan, 1994 Bruno Veering, ‘movable shelving system', prototype, Ghetto-Ambient Exhibition, Milan, 1994 Bruno Veering, ‘movable shelving system', prototype, Ghetto-Ambient Exhibition, Milan, 1994 idea of having a single element with multiple functionsGig Point, Bed, furniture design Marco Removable, Mart Laudanum, ‘Nomadic Cardboard Panel', prototype, Ghetto- Ambient Exhibition, Milan, 1994 kinetic transitional Raisin tower, almost works as context itself Softness, reduce sense of mass accompanies organic roof point, Lamp, 1960 Ambient Exhibition, Milan, 1994 Antonio Astor', ‘Intemperate' (Internally) furniture system, Deride production, sass Joe Colombo, ‘Box 1', day-and-night furniture facility, 1968 Joe Colombo, ‘Square Plastic System', furniture system, 1969 idea of liberating people from the kitchen Joe Colombo, ‘Root-living, furniture design, 1969Joe Colombo , ‘cabriolet-seed', 1969 , ‘ Multi-chat, 1970 , ‘Mint-kitchen', 1963 Joe Colombo, ‘Combo-center' container, 1963 Joe Colombo, ‘Tube-Chat, 1969 Joe Colombo, Visions' exhibition, 1969 Gig Pont', Medication Building, Milan, interiors, 1935-38 Gig Point, Medication Building, Milan Gig Pont', Medication Building, Milan Gig Pont', Raisin Tower, Milan, 1933-36, perspective drawing Gig Pont', Raisin Tower, Milan, 1933-36, photo with neoclassic Portal Venetian in the foreg round Gig Pont', Raisin Tower, Milan, the tower and the park Gig Pont', Raisin Tower, Milan, rooftop GIG point, Rarest -rower, Milan, 1933-36Pitter Dieresis, Tower Building, Berlin, 1986 Pitter Dieresis, Tower Building, Berlin, 1986, plan + elevations, drawing Pitter Dieresis, Tower Building, Berlin, view from the street tower view at night, looked like a painting Gig Pont', Raisin Tower, Milan, side fade Pitter Dieresis, Tower Building, Berlin, view from the street Dieresis tower wants to be a mediator between the road and Gig Point, Scenes and costumes design for Stravinsky ‘Applicable', Triennial Theatre, Milan, 1940 Gig Point, glass bottles and cups, design for Venin' Company, 1946-49 Gig Pont', ‘La Paving' coffee machine, Milan, 1948Gig Pont', ‘Andrea Dorian' ship, interiors, 1948-52 POINT WAS READY TO DECORATE D†°CORE, this was not supported by modernism In production, building offices, he becomes very rigorous Rigor in Milan, people dress elegant but al l the same Rome things change, they are much more ‘began' with colors, eat outside Linking back to how there is a large cultural difference in each city e etc. ‘Dulcimer' store, Milan, interiors with surrealist objects, late ass, early ass , Casino, San Remote, interiors and furniture, 1950 Gig Pont', Casino, San Remote, interiors and furniture , Staccato Apartment, interior and furniture, 1950Gig Point (with Piper Fornicates), Interior exhibition, 9th Triennial, Milan, 1951 Gig Point (with Piper Fornicates), Lucian Apartment, interiors and decorations, 1951 Gig Point (with Piper Fornicates), Lucian Apartment, early (and decorated) version of ‘Supercharger' chair, 1951 Gig Pont', his own architectural office, Milan, 1952 Gig Pont', his own architectural office, interiors Milan, 1952 Eduardo Persist, Marcello Nozzle, Salad Medieval door (Gold Medals Room), Italian Aeronautics Exhibition, 1934 Gig Point, Mate laureateship (In praise of Architecture), book, 1957, cove r Point is very good with sensibility of spaceGig Point, ‘Supercharger' chair, 1957 ‘Chivalric chair' supercharger, super light chair, can be lifted with pinky finger very famous, incorporate everyday objects vernacular design, beautiful but clumsy Guide Canella, furniture design, prototype, Nevi Design per IL Mobile Italians (New Design for Italian Furniture) Exhibition, 1960 Roberto Gigabit & Mario Sisal, furniture design, prototype, Nevi Design per IL Mobile Italians Exhibition, 1960 Aledo Rossi, Table, prototype, Nevi Design per IL Mobile Italians Exhibition, 1960 Josef Hoffmann, Stole Building, Brussels, 1905 Rossi looks at structures that are much more linearHoffmann, type of corner that marks the buildings, much more conceptual Age Ailment, Rocking chair, prototype, Nevi Design per IL Mobile Italians Exhibition, 1960 Age Ailment, Bookshelf, prototype, Nevi Design per IL Mobile Italians Exhibition, 1960 Vitriol Garrotter, armchair, prototype, Nevi Design per IL Mob ile Italians Exhibition, 1960 Umber Rival, deckchair, prototype, Nevi Design per IL Mobile Italians Exhibition, 1960 all furniture about putting more rather than less human posture curved Achilles Castigation, ‘Splurge Brad' Pub-Bar-Restaurant, Milan 1960 Achilles Castigation, Splurge Brad' Pub-Bar-Restaurant, Milan 1960 Achilles Castigation, ‘San Luck' armchair, prototype sense of mean, floating lamps (named after the restaurant) total linear, rather than Just repeating the same element Marco Suzann, ‘Lady, armchair, 1950 Franco Albania, ‘Margarita', Malice bamboo-cane armchair, 1950 Gig Point, ‘Continuum', cane-chair, Poinciana production, 1963 Gig Point, ‘Novella', armchair, C&B production, 1968 Gig Point, Villa Plainchant, Caracas, Venezuela, 1955 closed volumes, moments of surprises materiality with layers, bringing layers to modernism Gig Pont', Point apartment, Via Daze, Milan, 1957, interiors designed his own house, colorful tiles. Decorat ions very Joyful Gig Pont', Furnished window for an exhibition in New York, 1953 interested in discussing ‘con-fusion,' to be one, inability to differ areas of space decorated elements that duplicate themselves in mirrors around.Gig Point, Hotel ‘Parch die Principia', Rome, 1964, interiors Gig Pont', Hotel ‘Parch die Principia', Rome, 1964, interiors Gig Point, Hotel ‘Parch die Principia', Rome, 1964, fade (detail) Gig Pont', project for an Italian Embassy building, early sass, drawings interested in natural mass architectural form to a natural form and vise versa not particularly interested in function Gig Pont', sanitary fixtures set, Ideal Standard, 1953, drawings with notes Gig Pont', sanitary fixtures set, Ideal Standard, 1953, washbasin Gig Pont', sanitary fixtures set, Ideal Standard, 1953, toilet Gig Pont', sanitary fixtures set, Ideal Standard, 1953, toilet and more set components Gig Point, steel flatware, Italian Group, 9th Triennial, Milan, 1951, sketches and notes Gig Point, steel flatware, Italian Group, 9th Triennial, Milan, 1951 Idea of redesigning a fork Gig Point, vases, Sebastian production, 1956