DOMUS 318, Maggio 1956. Gio Ponti [Editorial Director]. Olivetti, Osvaldo Borsani, Knoll, Bernard Rosenthal.

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DOMUS 318

Maggio 1956

Gio Ponti [Editorial Director]

 

Gio Ponti [Editorial Director]: DOMUS 318. Milan, Editoriale Domus: Maggio 1956.  Original edition. Text in Italian. English and French translation summary. Slim folio. Thick photographically printed perfect bound wrappers. Side stitched textblock. 64 [viii] pp. Articles and advertisements. Multiple paper stocks and inserts. Elaborate graphic design throughout. Wrappers lightly worn and soiled. Yellowing to page edges. Few leaves skinned due to ink tackiness. A very good copy.

9.75   x 12.75  vintage magazine with 64 [viii] 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 1956 -- with  beautiful engraving and gravure printing throughout.

  • Horizontal "Unite D'habitation": Alberto Libera
  • A Neighborhood Project For The Olivetti Company: Annibale Fiocchi & Marcello Nizzoli
  • A School For 300 Boys: Vittoriano Vigano
  • In Genoa: Luigi Carlo Daneri
  • A Facade In Milan: Mario Asnago & Claudio Wender
  • One Of The Hiltons: Skidmore Owings & Merrill
  • Dome House In Florida: Eliot Noyes
  • A Plastics House: Lionel Schein
  • On Iseo Lake: Sandro Angelini
  • In The Langhe Hills In Piedmont: Roberto Gabetti
  • House For A Physician: Franco Stefanoni
  • In Valsugana: Mario Galvagni
  • A Chamber Theatre: Studio Asterisco
  • Interiors In Milan: Augusto Magnaghi & Mario Terzaghi
  • A New Reclining Armchair: Osvaldo Borsani
  • A Bank In Tunis: Roger Bezombes
  • An Entrance Hall: Guido Strazza
  • Bernard Rosenthal, Sculptor
  • Ceramics By Rolando Hettner
  • Metal Vases: Lino Sabattini
  • Knoll Furniture
  • Furniture By Paul Schneider, Vladimir Kagan, Vittore Ceretti, Etc.
  • and more.

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.

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.

 

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