.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
拍品专文
“La Diamantina”, a name originally chosen in reference to the diamond motif created by the tilework on the walls, beautifully describes one of Gio Ponti’s many iconic works. Blanca Arreaza commissioned Ponti in 1954 to create a villa in Caracas, Venezuela, offering him carte blanche to create anything he dreamed of. By the 1950s, Ponti was well established in his career, known as an Italian architectural master, having completed dozens of commissions throughout Italy. His reputation as a leader in architecture and design was further bolstered by his popular and well respective periodical, Domus, founded in 1928. Ponti used Domus to publish his work, ranging from designs, to manufactured works, and completed architectural commissions.
The Arreaza commission coincides with two other commissions completed in the 1950s in which Ponti had carte blanche. Also known as “La Diamantina”, the neighboring Villa Planchart in Caracas, and Villa Nemazee in Tehran, Iran also both reflect Ponti’s work when given absolute freedom and no limits. The result at Villa Arreaza is a masterpiece and a prime example of gesamtkunstwerk, a pinnacle achieved in design when an architectural commission results in a total and seamless work of art. This total work of art at Villa Arreaza employs a striking blue and white color scheme throughout the house which is also mirrored in the neighboring Villa Planchart. Referring to Villa Planchart, Ponti wrote in Domus no. 349, “This building, like my other one in Caracas, the Blanca Arreaza Villa, is a play of spaces, surfaces, and volumes that offer different aspects to those who enter into them.” Indeed, Ponti seamlessly incorporates bold colors and playful forms throughout an open floor plan where ‘rooms’ are often separated by modern glass dividers and partitions. Further, Ponti aptly compared the two Venezuelan villas to abstract sculpture where one must travel around, and in this instance through, the work to truly understand it.
Ponti, a trained architect, created dozens of furnishings for this commission which enabled him to explore different forms. This striking suite comprised of eight dining chairs and one dining table no doubt impressed the many visitors to the Villa Arreaza’s dining room. Additionally, the console table is believed to have been placed in the dining room alongside the table and chairs. This commission was always intended to be a showpiece where the social Arreaza family could entertain their many friends. The set of chairs reflect the “play of space” Ponti wrote of as it employs architectural-like positive and negative spaces in geometric forms. Further, this group is set against a contrasting blue and white striped floor and ceiling in the primary dining room of the villa creating a dynamic and playful space.
This special group is part of a small surviving group of furnishings from the Villa Arreaza that have been split amongst the family’s collection and other private collections following the villa’s partial demolishment in the 1990s. The present lots represent an exciting glimpse into the limitless of Ponti’s mind and work as an architect and designer given full freedom to create.
The Arreaza commission coincides with two other commissions completed in the 1950s in which Ponti had carte blanche. Also known as “La Diamantina”, the neighboring Villa Planchart in Caracas, and Villa Nemazee in Tehran, Iran also both reflect Ponti’s work when given absolute freedom and no limits. The result at Villa Arreaza is a masterpiece and a prime example of gesamtkunstwerk, a pinnacle achieved in design when an architectural commission results in a total and seamless work of art. This total work of art at Villa Arreaza employs a striking blue and white color scheme throughout the house which is also mirrored in the neighboring Villa Planchart. Referring to Villa Planchart, Ponti wrote in Domus no. 349, “This building, like my other one in Caracas, the Blanca Arreaza Villa, is a play of spaces, surfaces, and volumes that offer different aspects to those who enter into them.” Indeed, Ponti seamlessly incorporates bold colors and playful forms throughout an open floor plan where ‘rooms’ are often separated by modern glass dividers and partitions. Further, Ponti aptly compared the two Venezuelan villas to abstract sculpture where one must travel around, and in this instance through, the work to truly understand it.
Ponti, a trained architect, created dozens of furnishings for this commission which enabled him to explore different forms. This striking suite comprised of eight dining chairs and one dining table no doubt impressed the many visitors to the Villa Arreaza’s dining room. Additionally, the console table is believed to have been placed in the dining room alongside the table and chairs. This commission was always intended to be a showpiece where the social Arreaza family could entertain their many friends. The set of chairs reflect the “play of space” Ponti wrote of as it employs architectural-like positive and negative spaces in geometric forms. Further, this group is set against a contrasting blue and white striped floor and ceiling in the primary dining room of the villa creating a dynamic and playful space.
This special group is part of a small surviving group of furnishings from the Villa Arreaza that have been split amongst the family’s collection and other private collections following the villa’s partial demolishment in the 1990s. The present lots represent an exciting glimpse into the limitless of Ponti’s mind and work as an architect and designer given full freedom to create.