[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-poltrona-frau-dezza-2023":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":174},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":169,"matched_pages":170,"match_count":171,"two_pages":172,"show_text":173},24239,"Dezza 2023","poltrona-frau-dezza-2023","\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fb1\u002F5de20ac9a2dfbb123d24388a93b739-28f479e1f7.pdf","Poltrona Frau",393,"poltrona-frau","11.3 MB",[14,17,20,24,28,32,36,40,44,48,52,56,60,64,68,72,76,80,84,88,92,96,100,104,108,112,116,120,124,128,132,136,140,144,148,152,156,160,164,167],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":15,"number":19},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.2.png",2,{"image":21,"text":22,"number":23},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.3.png","Dezza Gio Ponti\nA Gio Ponti masterpiece born \nin Via Dezza 49, Milan, 1965. \nNow reborn in Redevance fabric, \none of his most loved designs \nnever seen before until now.\n",3,{"image":25,"text":26,"number":27},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.4.png","2\nDezza — Gio Ponti\nPoltrona Frau\n01\n",4,{"image":29,"text":30,"number":31},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.5.png","3\nRedevance. Unedited rony of a serious architect.\n",5,{"image":33,"text":34,"number":35},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.6.png","Poltrona Frau\n02\n«I am delighted to have the \nchance to showcase this \npiece of work by Ponti, not \njust because it is not very \nwell-known, but I would say \nmainly because it is based \non special criteria that evoke \nhis architecture and his \nstudy of surfaces rather than \nPonti’s decorative styles. \n4\n",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.7.png","The name “Redevance” (Royalty) is fun and meaningful in French, which Ponti \npracticed ever since he was young, and which, rather than referring to the \nsubject of the decoration, like in the previous fabrics “Estate mediterranea”, \n“Armadio magico”, “Eclissi”, “Recinto” and others, seems to be dedicated \nto his friend Luigi Grampa who accompanied him from the end of the war in \nproducing printed fabrics with the company Manifattura Jsa in Busto Arsizio*. \nIt is almost as though Ponti was joking and saying “Dear Grampa, here is a \ndesign for you to do, with no fi gurative or geometric references to give it a \nname, but with “Redevance” it is sure to bring you success!”  01\nThe fi rst and only proof we have of an offi  cial presentation \nof “Redevance”, alongside the test prints and designs held \nby Jsa, is the bedspread used for the “La casa adatta” exhibit \ndesigned by Ponti for Eurodomus 3 in Milan in 1970. 02 This was \nPonti’s proposal for a home with movable walls, furnished with \naff ordable, foldable furniture on wheels, called “Serie Apta”.\nIn the presentation, Ponti writes: “We do not have to adapt \nto a generic home, but rather the home has to adapt to us…” \nand again “ …to make the home the expression of our cultural \nindividuality in line with all the conditions of modern living, but \nalso fi nancial ones”.\n01  Gio Ponti. Original project design for the \n“Redevance” fabric 1970.\n© Gio Ponti Archives \u002F Salvatore Licitra\n*  Town outside of Milan \n02  Gio Ponti “La Casa Adatta” Pavilion \nat Eurodomus 3 - Milan. \n© Gio Ponti Archives \u002F Archivio storico\n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.8.png","6\nDezza — Gio Ponti\nPoltrona Frau\nThe initiative mentioned above is one of those where Ponti, in the fi nal part of \nhis prodigious and prolifi c career, now internationally recognized as a master, \nworked hard with his customary unselfi sh enthusiasm, creating phenomenal \nworks right from the 1960s where his architecture and design work are more \nand more obviously based on expressing these principles. \nWhile providing a repeated pattern, as required for fabrics, by \nusing diff erent juxtaposed shapes and colors, the “Redevance” \ndesign follows the criteria of not giving the eye stopping points, \nso it can run over its surface freely. It essentially creates an \napparently seamless pattern, where the eye can run over the \nsurface without any stumbling blocks. This typical Ponti twist, \nwhere the work does not live on its own but in the eye of the \nonlooker, a key to reading all of Ponti’s work, emerges and is \nparticularly evident in his work right from the early 1950s.\nIt goes without saying that we should recall the linoleum covering which he \ncalled “Giallo Fantastico” and used for the fl oors in the Pirelli Tower, where, \nby intervening during production and adding colors as the material was being \ncoated, a variable decoration was created with no repetitions.03\nThis criteria, which entrusted the direction of perception to the \neye of anyone who encountered or looked over these works \n(“Amate l’architettura” 1957 Page 124 “L’Architettura… uno \nspettacolo che si suscita percorrendolo..”),  guided Ponti in \ncreating the wonderful ceramic fl oor for Salzburger Nachrichten \nin 1976 04 05. This criteria also guided Ponti in designing, for \nexample, buildings covered in colorful ceramic, with a varying \nappearance depending on the light and point of view, 06 07 or his \nproposal for triangular skyscrapers, designed to change shape \nand color unexpectedly in diff erent urban perspectives 08 09. \n04  Gio Ponti “Project design for a ceramic fl oor for the \nSalzburger Nachrichten offi  ces in Salzburg 1976”. \n© Gio Ponti Archives \u002F Salvatore Licitra\n05  Gio Ponti “view of the ceramic fl oor at the \nSalzburger Nachrichten offi  ces in Salzburg 1976”. \n© Gio Ponti Archives \u002F Salvatore Licitra\n03  Gio Ponti “Giallo fantastico” Rubber fl oor \nfor the Pirelli tower 1956\u002F60. \n© Gio Ponti Archives \u002F Archivio storico\n03\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.9.png","7\nNow reborn in Redevance fabric\n06  Gio Ponti Study collage for the façade \nof the Shui-Hing stores in Singapore – 1978. \n© Gio Ponti Archives \u002F Archivio storico\n07  Gio Ponti: Façade of the Shui-Hing stores \nin Singapore – 1978. \n© Gio Ponti Archives \u002F Archivio storico\n08  Gio Ponti: plan-view study for a triangular \nskyscraper 1967. \n© Gio Ponti Archives \u002F Archivio storico\n09  Gio Ponti: study models for triangular \nskyscrapers 1967. \n© Gio Ponti Archives \u002F Archivio storico\n04\n05\n06\n07\n08\n09\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.10.png","8\nDezza — Gio Ponti\nPoltrona Frau\n10  Gio Ponti: Study for a fl oor modulated on the \ndiff erent areas of an architectural interior – 1971. \n© Gio Ponti Archives \u002F Salvatore Licitra\nFinally, to conclude this short review, \nwhich, by moving from example to \nexample would take us far away from \nour “Redevance” fabric, but as additional \nproof of Ponti’s commitment to giving \nsubstance to the principles which guided \nhis work, I would lastly like to recall \na project for a fl oor from 1971 10, \nthe composition of which varies \ndepending on the diff erent areas inside \nthe architecture and on their use, \nconfi rming the bipolar nature of the eye\u002F\nwork which is also the generative core \nof our fabric.»\nSalvatore Licitra \n© Gio Ponti Archives\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.11.png","9\nNow reborn in Redevance fabric\n10\n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.12.png","10\nDezza — Gio Ponti\nPoltrona Frau\nThe Dezza armchair, designed by Gio \nPonti in 1965 for Poltrona Frau and \ncurrently listed (available) in three \ndiff erent versions (Dezza 12, with a \nlow backrest and very thin armrests \nthat allow two or more elements to be \ncombined; Dezza 48, with a goose-\ndown headrest integrated into the \nbackrest; Dezza 24, in the armchair \nand two-seater sofa version), debuts \nat Milan Design Week 2023 with \na brand-new look: the Redevance \nprinted fabric upholstery, a result of \nthe company's close collaboration \nwith Archivio Gio Ponti and JSA Art \nTextile manufacturing, an outstanding \nlocal maker and reference point in the \nproduction of the most famous Italian \ndesigner fabrics since the 1950s.\nRedevance is a luxurious printed \nwoolen satin, whose graphic pattern \nwas originally designed by Ponti \nhimself, now rediscovered thanks to \nan extremely careful work of archival \nresearch. The pattern, made up of \nrepeated circular sections against a \nlight background, can be ascribed to \nPonti's explorations on modularity: \nsimple geometric elements, broken \ndown and replicated in sequence, \ncreate an infi nite number of potential \nvisual confi gurations that can be \nimplemented on various scales, from \nstructural architecture to everyday \nobjects. Redevance reinterprets \nthis principle for the contemporary \nworld, alternating the geometric \nelements in shades of blue and gray \n(hues Ponti loved to use) and creating \nan enveloping pattern that gives the \nupholstery a light and up-to-date \nappeal.\nThe Dezza chair, named after the \nMilanese street where the architect's \nhome-studio was located from \n1957 onwards, encapsulates all the \ndesigner's innovative force: a light, \ncomfortable, aesthetically pleasing \nand functional domestic architecture. \nIts soft, slender silhouette features \nsome highly recognizable design \nelements, such as the tapered leg with \ntriangular cross-section, one of Ponti's \ndistinctive marks (the same can be \nfound, for example, in the Pirelli Tower \nin Milan). The designer's signature can \nalso be found in the simplicity of the \nconstruction system of the armchair, \nconsisting of only four pieces – two \nsides, the seat, and the backrest. \nThe supporting structure is made \nof seasoned beech wood with \npolyurethane foam padding; the \nsuspension of the seat is in elastic \ncanvas for the Dezza 24 and 48, and \nelastic straps for the Dezza 12. The \ncushions are enriched with a pair of \nbuttons. The ends of the mounting \nelements on the sides are in chrome-\nplated brass.\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.13.png","11\nNow reborn in Redevance fabric\n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.14.png","12\nDezza — Gio Ponti\nPoltrona Frau\n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.15.png","13\nNow reborn in Redevance fabric\nThe new edition of the Dezza armchair \nfeaturing Redevance upholstery is shown \nin a series of photographs taken in the very \napartment\u002Fstudio of Via Dezza, where the \ndesigner lived and worked in the last years \nof his long and prosperous career. \nA demonstrative space, imbued with \nGio Ponti’s vitality and creative fl air, which is \ntraceable in the numerous objects, furniture, \nsketches and inventions still arranged in the \napartment as they had been left. \nThe apartment\u002Fstudio on Via Dezza is now \nhome to the Gio Ponti Archives, which \ncarefully preserves and catalogs the memory \nand works of the great Maestro.\n",15,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.16.png","14\nDezza — Gio Ponti\nPoltrona Frau\n",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.17.png","15\nNow reborn in Redevance fabric\n",17,{"image":81,"text":82,"number":83},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.18.png","16\nDezza — Gio Ponti\nPoltrona Frau\nDezza — Gio Ponti\nPoltrona Frau\n",18,{"image":85,"text":86,"number":87},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.19.png","17\nNow reborn in Redevance fabric\n",19,{"image":89,"text":90,"number":91},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.20.png","18\nDezza — Gio Ponti\nPoltrona Frau\n",20,{"image":93,"text":94,"number":95},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.21.png","19\nNow reborn in Redevance fabric\n",21,{"image":97,"text":98,"number":99},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.22.png","20\nDezza — Gio Ponti\nPoltrona Frau\n",22,{"image":101,"text":102,"number":103},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.23.png","21\nNow reborn in Redevance fabric\n",23,{"image":105,"text":106,"number":107},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.24.png","22\nDezza — Gio Ponti\nPoltrona Frau\nArchitect, designer, and artist, Gio \nPonti (Milan 1891-1979) graduated \nin Milan in 1921 and worked in \npartnership with Emilio Lancia and \nMino Fiocchi from 1927 to 1933. In \n1927 he founded Labirinto with Lancia, \nBuzzi, Marelli, Venini, and Chiesa, \nto create high-end furniture and \nobjects. From 1923 to 1930 he was \nthe art director for Richard Ginori. \nWith the foundation of the Domus \nmagazine in 1928 (which, except for \nbrief interruptions, he directed until his \ndeath), Ponti contributed extensively \nto the renewal of Italian production in \nthe industry, giving it new impetus. He \nplayed a leading role in supporting and \npromoting the Monza Biennale, then \nthe Milan Triennale, the Compasso \nd'Oro award, and the ADI (Industrial \nDesign Association). As an architect, \nhe created the symbol of modern \nMilan, the Pirelli Tower, designed \nwith Fornaroli, Rosselli, and Nervi in \n1956. In 1951, he designed the second \nPalazzo Montecatini (his fi rst offi  ce \nbuilding dates back to 1938-39). To \nhis planning activities, he added \neducational activities, teaching at the \nFaculty of Architecture in Milan from \n1936 to 1961.\nGio Ponti\n",24,{"image":109,"text":110,"number":111},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.25.png","23\nRedevance. Unedited rony of a serious architect.\n",25,{"image":113,"text":114,"number":115},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.26.png","24\nDezza — Gio Ponti\nPoltrona Frau\n",26,{"image":117,"text":118,"number":119},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.27.png","25\nNow reborn in Redevance fabric\n↖↑ Dezza sofa 24, Ziggy fabric col. 1373 Midnight Blue with black feet\nNow reborn in Redevance fabric\n",27,{"image":121,"text":122,"number":123},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.28.png","26\nDezza — Gio Ponti\nPoltrona Frau\nDezza — Gio Ponti\nPoltrona Frau\n",28,{"image":125,"text":126,"number":127},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.29.png","27\nNow reborn in Redevance fabric\n",29,{"image":129,"text":130,"number":131},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.30.png","28\nDezza — Gio Ponti\nPoltrona Frau\n28\nPoltrona Frau\n",30,{"image":133,"text":134,"number":135},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.31.png","29\nNow reborn in Redevance fabric\n",31,{"image":137,"text":138,"number":139},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.32.png","30\nDezza — Gio Ponti\nPoltrona Frau\n",32,{"image":141,"text":142,"number":143},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.33.png","31\nNow reborn in Redevance fabric\n",33,{"image":145,"text":146,"number":147},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.34.png","IT Sono contento di avere l’occasione\ndi portare alla ribalta quest’opera di\nPonti, non solo perché sconosciuta,\nma direi soprattutto perché costruita\nsu criteri particolari che ci rimandano,\npiuttosto che agli stilemi decorativi\npontiani, alle sue architetture ed al\nsuo studio delle superfi ci.\nE’ signifi cativo e divertente il nome\n“Redevance” (Royalty) nel francese\nche Ponti praticava fi n da giovane e\nche, piuttosto che far riferimento al\ncontenuto del decoro, come nei pre-\ncedenti tessuti “Estate mediterranea”\n“Armadio magico” “Eclissi” “Recinto”\ned altri, pare dedicato all’amico Luigi\nGrampa che con la Manifattura Jsa di\nBusto Arsizio lo aveva accompagnato\nfi n dal dopoguerra per la produzione\ndei tessuti stampati. Un po’ come se\nscherzando Ponti avesse detto “Caro\nGrampa, eccoti da fare un disegno, li-\nbero da riferimenti fi gurativi o geome-\ntrici da cui si possa trarne un nome,\nma che con “Redevance” ti promette\nun successo!” (1)\nLa prima ed unica testimonianza che\nabbiamo di una presentazione uffi  -\nciale di “Redevance”, oltre alle prove\ndi stampa e i disegni conservati dalla\nJsa, è il copriletto adottato nell’alle-\nstimento “La casa adatta” progettato\nda Ponti in occasione di Eurodomus 3 a\nMilano nel 1970. (2)\nSi trattava di una proposta di Ponti per\nuna abitazione a pareti mobili, arreda-\nta con mobili economici, pieghevoli e su\nrotelle, denominati “Serie Apta”.\nNella presentazione Ponti scrive: “Non\ndobbiamo adattarci noi ad una casa\ngenerica, ma è la casa che deve adat-\ntarsi a noi…” ed ancora “ … per fare\ndella casa l’espressione della nostra\nindividualità culturale in accordo a\ntutte le condizioni dell’abitare di oggi,\nanche economiche “. \nL’iniziativa che richiamo qui sopra è\nuna di quelle in cui Ponti, nell’ultima\nparte della sua prodigiosa e prolifi ca\ncarriera, oramai internazionalmente ri-\nconosciuto come un maestro, si impe-\ngna con l’abituale disinteressato entu-\nsiasmo, realizzando, fi n dagli anni ’60,\nfenomenali opere dove le sue archi-\ntetture e il suo lavoro di design sono\ncostruiti in modo sempre più evidente\nad espressione dei medesimi principi. \nIl disegno “Redevance”, pur preve-\ndendo, come necessario per le stoff e,\nuna ripetizione del motivo, utilizzando\nsfasamenti e giustapposizioni delle\nforme e dei colori obbedisce al criterio\ndi non dare appigli allo sguardo, per-\nché possa liberamente percorrerne la\nsuperfi cie.\nIn sostanza si realizza un motivo appa-\nrentemente senza soluzione di conti-\nnuità, ove lo sguardo possa percorrere\nla superfi cie libero da inciampi.\nQuesto ribaltamento pontiano, dove\nl’opera non vive in sè ma nello sguar-\nDezza\nDezza, disegnata da Gio Ponti nel\n1965 per Poltrona Frau e  declina-\nta in tre diversi esemplari (Dezza 12,\ncon schienale basso e braccioli molto \nsottili che rendono possibile l'acco-\nstamento di due o più elementi; Dezza\n48, dotata di un poggiatesta in piumino\nd'oca integrato allo schienale; Dezza\n24, nella versione poltrona e divanetto\na due posti) viene presentata con una\nnuova veste: il rivestimento in tessu-\nto stampato Redevance, frutto della\nstretta \ncollaborazione \ndell'azienda \ncon l'Archivio Gio Ponti e la tessitura\nd'arte JSA, illustre realtà tessile lo-\ncale e punto di riferimento, a partire\ndagli anni Cinquanta, nella realizza-\nzione delle più famose stoff e italiane\nd'autore.\nRedevance è un prezioso raso di lana\nstampato, il cui motivo grafi co venne in\norigine disegnato dallo stesso Ponti,\noggi reperito grazie a un meticoloso\nlavoro di ricerca d'archivio. Il pattern,\ncomposto da sezioni circolari ripetute\nsu fondo chiaro, è riconducibile alle\nsperimentazioni pontiane sulle mo-\ndularità: elementi geometrici sempli-\nci, scomposti e replicati in sequenza,\nsono in grado di confi gurare un numero\ninfi nito di potenziali risultati visivi, ap-\nplicabili in varie scale, dall'architettu-\nra strutturale all'oggetto d'uso quoti-\ndiano. Redevance reinterpreta questo\nprincipio in chiave moderna, alternan-\ndo gli elementi geometrici nelle cromie\ndell'azzurro e del grigio (tonalità molto\namate e utilizzate da Ponti) e creando \nun motivo avvolgente che dona all'im-\nbottito un'accezione di leggerezza e\ncontemporaneità. \nDezza, che prende il nome dalla via\nmilanese dove si trovava la casa e lo\nstudio dell'architetto a partire dal\n1957, racchiude tutta la forza innova-\ntrice del progettista: un'architettura\ndomestica dal design leggero, comodo,\nesteticamente piacevole e funzionale.\nLa sua silhouette morbida e slanciata\npresenta alcuni elementi progettuali\naltamente riconoscibili, come la gamba\naff usolata a sezione triangolare, vero e\nproprio elemento distintivo di Ponti (lo\nstesso si ritrova, ad esempio, nel Grat-\ntacielo Pirelli di Milano). Il segno d'au-\ntore si riconosce anche nella semplicità\ndel sistema costruttivo della poltrona,\ncomposta da soli quattro pezzi  - due\nfi anchi, il sedile e lo schienale. \nLa struttura portante è realizzata in\nfaggio stagionato con imbottitura in\npoliuretano espanso; il molleggio della\nseduta è in tela elastica per Dezza 24 e\n48, e cinghie elastiche per la Dezza 12.\nLa lavorazione dei cuscini è arricchita\nda una coppia di bottoni. Le estremità\ndegli elementi di montaggio presenti\nsui fi anchi sono in ottone cromato.\nGio Ponti\nArchitetto, designer e artista, Gio\nPonti (Milano 1891-1979) si laurea a\nMilano nel 1921 e si associa inizial-\nmente con Emilio Lancia e Mino Fioc-\nchi dal 1927 al 1933. Nel 1927 fonda\nil Labirinto, con Lancia, Buzzi, Marelli,\nVenini e Chiesa, per proporre arredi e\noggetti di alto livello. Dal 1923 al 1930\nè direttore artistico di Richard Ginori.\nCon la fondazione della rivista Domus\nnel 1928 (che, salvo brevi interruzioni,\ndirigerà fi no alla morte), Ponti contri-\nbuisce intensamente al rinnovamento \ndella produzione italiana del setto-\nre, cui dà nuovi impulsi. Partecipa da\nprotagonista e sostiene le Biennali di\nMonza, poi Triennali di Milano, il premio\nCompasso d'oro e l'ADI (Associazione\nper il Disegno Industriale). Al Ponti ar-\nchitetto si deve il simbolo della Milano\nmoderna, il grattacielo Pirelli, proget-\ntato nel 1956 con Fornaroli, Rosselli e\nNervi. Nel 1951 realizza il secondo Pa-\nlazzo Montecatini (il suo primo palazzo\nper uffi  ci risale al 1938-39). All'attività\nprogettuale ha affi  ancato anche quel-\nla didattica, insegnando alla Facoltà\ndi Architettura di Milano dal 1936 al\n1961.\ndo di chi la incontra, chiave di lettura \ndi tutto il lavoro di Ponti, emerge ed è \nparticolarmente evidente nel suo lavo-\nro sin dai primi anni ’50.\nVa da sé che occorre richiamare il rive-\nstimento in linoleum da Ponti battezza-\nto “ Giallo Fantastico” usato da Ponti \nper i pavimenti della Torre Pirelli, dove, \nintervenendo in fase di produzione con \nl’aggiunta di colori durante la stesura \ndel materiale, si otteneva una decoro \nvariabile senza ripetizioni.(3)\nQuesto criterio, che affi  dava la regia \ndella percezione allo sguardo di colui \nche incontrava o percorreva le opere,( \n“Amate l’architettura “ 1957 Pag. 124  \n“ L’Architettura… uno spettacolo che \nsi suscita percorrendolo..”)  ha guida-\nto Ponti nella realizzazione del fanta-\nstico pavimento ceramico per la Sal-\ntzburger Nachtrichter nel 1976 (4) (5), \ned è il criterio che ha guidato Ponti nel \nprogettare ad esempio edifi ci rivestiti \nin ceramica colorata, varianti in aspet-\nto a seconda della luce e del punto di \nvista, (6) (7) o la proposta di grattacie-\nli triangolari, studiati per mutare forma \ne colore  inaspettatamente nelle diver-\nse prospettive urbane (8) (9).\nA conclusione infi ne di questa breve \nrassegna, che, procedendo di esempio \nin esempio ci porterebbe ben lontani \ndalla nostra stoff a “Redevance”, ma \na ulteriore testimonianza dell’impegno \ndi Ponti nel dar corpo ai principi che \nhanno guidato il suo lavoro, mi piace \nrichiamare infi ne un progetto per un \npavimento del 1971 (10), la cui com-\nposizione varia in relazione alle diverse \naree all’interno dell’architettura ed al \nloro uso, confermando quella la bi-po-\nlarità occhio\u002Fopera che è anche il noc-\nciolo generativo della nostra stoff a.\nSalvatore Licitra\n© Gio Ponti Archives\n",34,{"image":149,"text":150,"number":151},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.35.png","FR Je suis heureux d’avoir l’occasion\nde ramener à la vie cette œuvre de Pon-\nti non seulement parce que personne\nne la connaît mais, surtout, ajoute-\nrais-je, parce qu’elle est construite sur\ndes critères particuliers qui rappellent,\nplus que les stylèmes décoratifs pro-\npres à Ponti, à ses architectures et à\nson étude des surfaces.\nLe nom « Redevance », mot dans la\nlangue française que pratiquait Ponti\ndans sa jeunesse et qui, plus que faire\nréférence au contenu du décor, comme\ndans les tissus précédents « Estate\nmediterranea », « Armadio magico », «\nEclissi », « Recinto » et d’autres enco-\nre, semble dédié à son ami, Luigi Gram-\npa, qui, avec la Manufacture JSA de\nBusto Arsizio, l’avait accompagné dès\nl’après-guerre dans la production des\ntissus imprimés. C’est un peu comme\nsi, en plaisantant, Ponti avait dit « Mon\ncher Grampa, voici un dessin, libre de\nréférences fi guratives ou géométriqu-\nes d’où il est possible d’en tirer un\nnom mais qui, avec « Redevance » te\nmènera au succès ! » (1)\nLe premier et unique témoignage que\nnous avons d’une présentation offi  ciel-\nle de « Redevance », en plus que des\npreuves d’impression et des dessins\nconservés par JSA, est le couvre-lit\nadopté lors de l’agencement de « La\ncasa adatta » [n.d.t. : « la maison adap-\ntée »] conçue par Ponti à l’occasion\nd’Eurodomus 3, à Milan en 1970. (2)\nIl s’agissait d’une idée de Ponti pour\nune habitation aux parois mobiles,\nagencée avec des meubles à bas prix,\npliants et montés sur roulettes, ap-\npelés « Serie Apta ».\nPour les présenter, Ponti écrit : « Ce\nn’est pas nous qui devons nous adap-\nter à une maison générique, mais c’est\nla maison qui doit s’adapter à nous...\n», mais encore « … pour faire de la mai-\nson l’expression de notre individualité\nculturelle en accord avec toutes les\nconditions de l’habitat d’aujourd’hui,\nmême bon marché ». \nL’initiative citée plus haut est l’une de\ncelles où Ponti, dans l’ultime partie de\nsa prestigieuse et prolifi que carrière,\ndésormais connu dans le monde comme\nun maître dans son art, se met à réal-\niser, avec son habituel enthousiasme\ndésintéressé, dès les années 1960,\ndes œuvres phénoménales où ses ar-\nchitectures et son travail de design\nsont construits de façon toujours plus\névidente comme l’expression de ses\nprincipes.\nLe dessin « Redevance », même s’il\nprévoit, comme le requièrent les étoff -\nes, une répétition du motif en utilisant\ndes décalages et des juxtapositions\ndes formes et des couleurs, obéit au\ncritère de ne pas créer de prétextes\npour le regard de sorte que celui-ci\npuisse aller et venir en toute liberté\nsur la surface.\nDezza\nLe fauteuil Dezza, imaginé par Gio \nPonti en 1965 pour Poltrona Frau et \ndécliné actuellement en catalogue en \ntrois exemplaires diff érents (Dezza 12 \navec dossier bas et accoudoirs ultra \nfi ns qui permettent d’associer deux \nou plusieurs éléments ; Dezza 48 muni \nd’un appuie-tête en duvet d’oie incor-\nporé au dossier ; Dezza 24 en version \nfauteuil et petit canapé à deux places) \nest présenté à l’occasion de la Design \nWeek de Milan 2023 sous un nouveau \njour : le revêtement en tissu imprimé \nRedevance. Ce dernier est le fruit de \nl’étroite collaboration de l’entreprise \navec l’Archivio Gio Ponti et le tisserand \nd’art JSA, fameuse entreprise textile \nlocale et référence, dans les années \ncinquante, pour avoir réalisé les plus \ngrandes étoff es italiennes d’auteur.\nRedevance est un précieux satin de \nlaine imprimé, dont le motif graphique \nfut à l’origine dessiné par Ponti et qui \na été retrouvé aujourd’hui après un \nlong travail de recherche dans les ar-\nchives. Le motif, composé de sections \ncirculaires répétées sur fond clair, est \nreconductible aux expérimentations de \nPonti sur les modularités : les éléme-\nnts géométriques simples, décomp-\nosés et répliqués en séquence sont en \nmesure de confi gurer un nombre infi ni \nd’eff ets visuels potentiels, applicables \nà diff érentes échelles, de l’architectu-\nre structurelle à l’objet utilisé dans \nle quotidien. Redevance réinterprète \nce principe d’une façon moderne, en \nalternant les éléments géométriques\navec les nuances du bleu et du gris \n(tonalités très appréciées et utilisées \npar Ponti) et en créant un motif at-\ntrayant qui confère au rembourrage \nune connotation de légèreté et de con-\ntemporanéité.\nL’assise Dezza tire son nom de la rue \nmilanaise où se trouvait la maison-ca-\nbinet de l’architecte à partir de 1957. \nElle recèle en elle toute la force inno-\nvante du créateur : une architecture \ndomestique au design aérien, prati-\nque, agréable sur le plan esthétiq-\nue et fonctionnel. Sa forme douce et \nélancée présente certains éléments \nconceptuels très emblématiques, com-\nme le pied fuselé à section triangulai-\nre, élément distinctif de Ponti (qui se \nretrouve notamment dans le gratte-ciel \nPirelli à Milan). La patte de l’auteur est \nreconnaissable aussi dans la simplicité \ndu système de construction du fauteu-\nil, composé de seulement quatre pièces \n: deux côtés, l’assise et le dossier.\nLa structure portante est réalisée en \nhêtre sec avec rembourrage en mous-\nse de polyuréthane. La suspension de \nl’assise est en toile élastique pour \nDezza 24 et 48 et en sangles élas-\ntiques pour Dezza 12. Le travail des \ncoussins est enrichi d’une paire de \nboutons. Les extrémités des éléments \nde montage présents sur les côtés \nsont en laiton chromé.\nLa nouvelle édition du fauteuil Dezza \navec le revêtement Redevance est la \nDe fait, le motif est apparemment sans \nsolution de continuité, où le regard \npeut évoluer à sa guise sur la surface.\nCe changement de Ponti où l’œuvre ne \nvit pas en soi mais vit dans le regard \nde celle ou celui qui la rencontre, clé \nde lecture de l’ensemble du travail du \ncréateur, émerge clairement et est par-\nticulièrement évident dans son travail \ndès le début des années 1950.\nIl convient ici de citer le revêtement en \nlinoléum baptisé par Ponti « Giallo Fan-\ntastico » |n.d.t. : « jaune fantastique »] \nutilisé par lui-même pour les sols de la \nTour Pirelli où, en intervenant durant \nla production avec l’ajout de couleurs \ndurant l’étalement du matériau, l’on \nobtenait une décoration variable sans \nrépétitions.(3)\nCe critère qui confi ait la régie de la \nperception au regard de celle ou de \ncelui qui rencontrait ou regardait les \nouvrages (« Aimez l’architecture » \n1957, page 124   « L’architecture... un \nspectacle qui l'on suscite en le par-\ncourant... »)   a guidé Ponti dans la \nréalisation du magnifi que sol en céram-\nique pour la Saltsburger Nachtrichter \nen 1976 (4) (5) et est le critère qui a \nguidé Ponti dans la conception, par \nexemple, des bâtiments recouverts de \ncéramique colorée, changeant d’a-\nspect en fonction de la lumière et de \nl’angle de vue, (6) (7) ou encore la \nproposition de gratte-ciel triangulaires \nétudiés pour changer de forme et de \ncouleur   de façon inattendue selon la \nperspective urbaine (8) (9).\nEnfi n, pour conclure cette rapide \nrétrospective qui, en allant d’exem-\nple en exemple, nous emmènerait bien \nloin de notre tissu « Redevance », mais \ncomme témoignage ultérieur de l’enga-\ngement de Ponti pour donner vie aux \nprincipes qui ont guidé son travail, \nj’aime rappeler pour terminer un projet \npour un sol en 1971 (10), dont la com-\nposition varie en rapport aux diff érents \nespaces au sein de l’architecture et de \nleur utilisation, venant confi rmer la \nbipolarité œil\u002Fœuvre qui est aussi le \nnoyau générateur de notre tissu.\nSalvatore Licitra\n© Gio Ponti Archives\nprotagoniste d’une série de clichés \nréalisés dans l’appartement\u002Fatelier \nmême de Via Dezza, où le créateur a \nvécu et travaillé au cours des dernières \nannées de sa longue et prospère car-\nrière. Un espace d’exposition, imprég-\nné de la vitalité et de l’esprit créatif de \nGio Ponti, que l’on retrouve dans grand \nnombre d’objets, de meubles, d’e-\nsquisses et d’inventions aujourd’hui \nencore disposés dans l’appartement \ntels qu’ils l’étaient avant. L’appar-\ntement\u002Fatelier de Via Dezza est au-\njourd’hui le siège des Archivio Gio Pon-\nti, à savoir les archives qui conservent \net cataloguent avec soin la mémoire et \nles ouvrages du grand maître.\nGio Ponti\nArchitecte, designer et artiste, Gio \nPonti (Milan, 1891-1979) obtient son \ndiplôme à Milan en 1921 et s’associe à \nses débuts avec Emilio Lancia et Mino \nFiocchi entre 1927 et 1933. En 1927, \nil fonde le Labirinto avec Lancia, Buz-\nzi, Marelli, Venini et Chiesa, pour pro-\nposer des meubles et des objets haut \nde gamme. De 1923 à 1930, il est le \ndirecteur artistique de Richard Ginori. \nAvec la création de la revue Domus en \n1928 (qu’il dirigera, hormis quelques \nrares interruptions, jusqu’à sa mort), \nPonti contribue avec force au renou-\nvellement de la production italienne du \nsecteur en lui donnant de nouvelles \nimpulsions. Il participe en personne \net soutient les Biennales de Monza, \npuis les Triennales de Milan, le pre-\nmier Compasso d’Oro et l’ADI (Asso-\nciation pour le Design Industriel). En \ntant qu’architecte, Ponti est l’auteur \ndu symbole de la Milan moderne, le \ngratte-ciel Pirelli, conçu en 1956, avec \nFornaroli, Rosselli et Nervi. En 1951, il \nréalise le deuxième Palazzo Monteca-\ntini (son premier immeuble de bureaux \nremonte à 1938-39). Parallèlement à \nson activité de designer, il enseigne à \nla Faculté d’architecture de Milan de \n1936 à 1961.\n",35,{"image":153,"text":154,"number":155},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.36.png","ZH ����Gio Ponti�������\n�����������������\n�����������������\n�����������������\n���������Ponti������\n�����������������\n�������\n����� �Redevance� (Royalty) ��\n�������������������\n�������Estate mediterranea��Ar-\nmadio \nmagico��Eclissi��Recinto���\n����������������\n�������Redevance������\n���������� Luigi Grampa �\n��Busto Arsizio�Manifattura Jsa\n����������������\n�������������Ponti�\n����Ponti�����������\n�Grampa������������\n�����������������\n�����Redevance’�������\n�����1�\n���Jsa�����������\n����������������\n���Redevance�������1970\n�������Eurodomus����\n�����������La casa adatta���\n���������2���Ponti���\n�����������������\n���Apta�������������\n��Ponti�������������\n�����������������\n������������������\n�����������������\n����������������\n���������Ponti������\n���������������Ponti\n����������������\n�����������1960��\n��Ponti�������������\n�����������������\n���������\n���������Redevance����\n�����������������\n�����������������\n�����������������\n��\n�����������������\n�����������������\n���������������Ponti\n�����������������\n�����������������\n���������Ponti�����\n�����������������\n1950���������������\n����������������Gi-\nallo Fantastico�������Ponti��\n�����������������\n�����������������\n������������3�\nDezza\n��Dezza��������Gio Ponti\n�1965��Poltrona Frau������\n������Dezza 12�������\n�����������������\n��������Dezza 48�����\n������������Dezza 24�\n�����������������\n���������������2023\n�������Milan Design Week�\n���Dezza�����Redevance�\n����������Poltrona Frau�\nArchivio Gio Ponti���������\nJSA�������������1950\n�����JSA����������\n�����������������\n����������������\nRedevance������������\n������Ponti��������\n�����������������\n�����������������\n�����������������\nPonti��������������\n����������������\n����������������\n����������������\n��Redevance����������\n�����������������\n�Ponti��������������\n�����������������\n����������\nDezza�������������\n�������Ponti�������\n�����������������\n���������1957������\n��������Dezza������\n�����������������\n�����Ponti���������\n�����������������\n�����������������\n�����������������\n�����������������\n���������������\n�����������������\n������Dezza 24�Dezza 48��\n������������Dezza 12�\n�����������������\n�����������������\n�������������\nGio Ponti\nGio\nPonti�1891�1979������\n��������������1921�\n��������1927��1933��\n��Emilio Lancia�Mino Fiocchi��\n���1927�����Lancia�Buzzi-\n�Marelli�Venini�Chiesa�����\n�Labirinto�����������\n�������1923��1930���\n��Richard\nGinori������1928\n�����������Domus���\n����������������\n����������������\n����������������\n��������������Mon-\nza \nBiennale�����������\nMilan \nTriennale�������Com-\npasso d'oro��ADI��������\n�����������������\n�����������1956���\nFornaroli�Rosselli�Nervi�����\n�����������������\n��Pirelli Skyscraper��1951���\n�� � Palazzo Montecatini������\n����\n�������������\n�����1938-39��������\n��������������1936�\n�1961��������������\n��\n��������������1957\n�������������124���\n�����������������\n��������������������\n1976���������������\n�������4��5�������\n����Ponti����������\n�����������������\n�����������������\n�6��7�������������\n�����������������\n���������������8�\n�9���\n�����������������\n���������Redevance����\n��������Ponti������\n�����������������\n����1971����������\n�10��������������\n�����������������\n�����������������\n�������\nSalvatore Licitra\n© Gio Ponti Archives\n01  Gio Ponti. “Redevance”� ���\n���������������\n�\n© Gio Ponti Archives \u002F Salvatore \nLicitra \n02  Gio Ponti “La Casa Adatta”����Eu-\nrodomus �������� �� ����\n© Gio Ponti Archives��������\n03  Gio Ponti “Giallo fantastico”� ��\n���������������� �� ��\n© Gio Ponti Archives \u002F������\n04  Gio \nPonti \n“1976������\n� � � � � � � � � � � � �\n� � � � � � � � � � � � �\n© Gio Ponti Archives \u002F Salvatore \nLicitra\n05  Gio Ponti “1976��������\n���������������\n��������� �\n�\n© Gio Ponti Archives \u002F Salvatore Li-\ncitra \n06  Gio Ponti� ���� Shui-Hing� ��\n���������� – 1978�� ��\n© Gio Ponti Archives \u002F �����\n07  Gio \nPonti:�\n���Shui-\nHing \n�����\n��\n������\n��\n© Gio Ponti Archives \u002F�����\n08  Gio \nPonti: \n������\n�������������\n��\n© Gio Ponti Archives \u002F������\n09  Gio \nPonti: \n������\n������������\n��\n© Gio Ponti Archives \u002F �����\n10   Gio Ponti: �����������\n������������� �� �����\n��� �\n�\n�\n© Gio Ponti Archives \u002F Salvatore Li-\ncitra\n",36,{"image":157,"text":158,"number":159},"\u002Fmedia\u002Fimages\u002F1d\u002F20a1aec2bded0642a40cc58e67f845-28f47c2be9.37.png","68 \u002F 26\"¾\n58 \u002F 22\"¾\n59 \u002F 23\"¼\n41 \u002F 16\"¼\n75 \u002F 29\"½\n83 \u002F 32\"¾\n60 \u002F 23\"½\n73 \u002F 28\"¾\n49 \u002F 19\"¼\n43 \u002F 17\"\n78 \u002F 30\"¾\n83 \u002F 32\"¾\n60 \u002F 23\"½\n95 \u002F 37\"½\n49 \u002F 19\"¼\n43 \u002F 17\"\n83 \u002F 32\"¾\n138 \u002F 54\"¼\n117 \u002F 46\"½\n73 \u002F 28\"¾\n49 \u002F 19\"¼\n43 \u002F 17\"\n78 \u002F 30\"¾\nDezza — Armchair 24\n5293111\nDezza — Armchair 12\n5293110\nDezza — Sofa 24\n5293211\nDezza — Armchair 48\n5293112\nTECHNICAL FEATURES\nFeet. Finishes:\n- Black lacquered ash with visible wood grain (12)\n- White lacquered ash with visible wood grain (21)\nAdditional fi nishes for Armchair and Sofa 24 and Armchair 48:\n- Canaletto walnut veneer (29)\nUpholstery. In Pelle Frau® leather, in fabric or in a combination \nof Pelle Frau® leather for the shell and fabric or Cavallino\nleather for the seat and backrest cushions.\n- ColorSphere®\n- ColorSphere® \u002F Cavallino\n- ColorSphere® \u002F Fabric A\n- ColorSphere® \u002F Fabric B\n- ColorSphere® \u002F Fabric C\n- ColorSphere® \u002F C.O.M.\n- Heritage\n- Nest\n- Nest \u002F Cavallino\n- Nest \u002F Fabric A\n- Nest \u002F Fabric B\n- Nest \u002F Fabric C\n- Nest \u002F C.O.M.\n- Soul\n- Soul \u002F Fabric A\n- Soul \u002F Fabric B\n- Soul \u002F Fabric C\n- Soul \u002F C.O.M.\n- Velvety\n- Fabric Redevance (design Gio Ponti)\n- Fabric A\n- Fabric B\n- Fabric C\n- C.O.M.\nPlease Note. 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