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GIO PONTI, A JOURNEY INTO THE PAST AND THE FUTURE
Written and photographed by Elbin Cuevas
16th of April, 2026
Before arriving in Milan to study Italian design, I was always drawn to architecture, but in a superficial way. I always thought of the functionality of a design, how it looked at first sight… I rarely thought of the soul, the inspiration or the architect behind each wall. Architecture to me was about selling, not feeling. It was about many people, not a few. It was about rooms, not spaces. It was about the shell, not what was inside it. That was until I met Massimo Martignoni, history of design professor at NABA.
During the Master in Italian Design course, I had the privilege of being Mr. Martignoni’s student, who on the first day of classes introduced us to Gio Ponti. At first, I didn’t understand the importance of this name, but that soon changed, in fact, he is so important, that I was motivated to write this love letter to his work. Let’s start from the beginning, his beginning:
Born in Milan on November 18th, 1891, Gio Ponti is an architect graduated from Regio Politecnico (now known as Politecnico di Milano), who started his career in a conventional way, working for an established studio, until he decided to start his own. Apart from his work, Ponti was also deeply interested in art and craftsmanship, which sparked a curiosity that led him to become a product designer. One of his first design jobs was in a company manufacturing ceramics, where he revamped the production and proposed new ways of using the material, including in very creative building facades.
In 1928, a few years into his professional career, Ponti launched “Domus”, one of the most important publications of the design and architecture world, where he celebrated Italian contemporary design, being the blueprint for many other magazines after it. One of my favorite aspects about this initiative is the unconventional covers, which often presented the artist's work in an unexpected way, often with non-obvious messages. The covers themselves were worthy of collecting.
It is important to note that Gio Ponti’s work went through a few transformative eras, influenced by his environment, his relationship with other famous designers and, of course, the socio-political situations that he experienced during his life, including the second world war.
Now, instead of just telling his story, I want to share a piece of mine with you. The following paragraphs will be a dive into my experience discovering Gio Ponti’s architecture work during my time in Milan.
Milan from the perspective of a master in italian design
October 9th, 2025; it was a beautiful, sunny day in Milan and Massimo took us to the Sant’ambrogio district, it was here where I got my first impression of Gio Ponti’s work. This day was dedicated to residential buildings, the first one being Via Aristide de Togni, 21. The facade, composed of a symmetrical composition of horizontal, rectangular windows felt wider than it actually is. Although probably designed for absolute functionality, this building does not lack on details, starting with the beautiful projected stone, which in my opinion lifts the entrance and also invites you in at the same time. This first impression did make me question, what about this architect is so special? That's something that I would eventually find out.
Our next stop was Palazzo Borletti, located in Via S. Vittore 42, which differs from the previous one, mainly because it was built for a powerful, rich family from Milan. This building is characterized by its geometric lines, with a mix of very classic details, including: mouldings, arches, exposed columns, wood decorations and intricately patterned floors and much more. I have to say that this is one of my favorite buildings of his, not because of the architecture itself, but for what I felt when I had the privilege of going inside. I believe that for the time it was built, this work is the perfect combination between classic, old sophistication and the contrasting modern shapes and patterns. Built for the same family, we also visited Capella Funeraria Borletti in the monumental cemetery, which reminded me of my country, as we had the same tradition of making these sort of “homes” for eternal rest.
December 4th, 2025, this was the day my perspective on Ponti changed, starting with my discovery of Chiesa di San Francesco (1961-63). My first reaction to seeing this church was just saying “wow”, it really caught me off guard. I love that you can recognize its a church, without it being too obvious. Each line tells a story, and communicates something about the building and the architect himself. Some details that I want to point out are:
The big, geometric, sharp perforations on the facade that resemble a window which you can eventually understand as a window to heaven. This is almost a permanently changing characteristic of the building, as the weather affects very much how this “window” is perceived, it is very different seeing through it on a sunny day rather than a cloudy one.
The tiled walls, which could be considered another modern aspect of this architecture, make the building feel stronger for some reason, and also give it this interesting appearance caused by the shadows casted on each tile. Again, as the day goes by and the sun changes position, the building is transformed.
In general, I like the grandeur and unconventional composition of this building. I believe it shows the creativity and range of Gio Ponti as an architect, and proves that he is, undoubtedly, a creator of memorable, timeless exteriors.
Another one of my favorite buildings of Gio Ponti, and I would also say of all time, is the Pirelli Skyscraper in Via Fabio Filzi, 22, which we visited on the same day. An icon of modernist architecture, this skyscraper becomes a reference point in Milan, starting with its unique slim, continuous shape, which projects the building into the sky, making it look even taller than it already is when looked at from specific angles.
I believe that its location also makes it very special, as it is next to one of the most important logistic centers in all of Europe: Milano Centrale, making the Pirelli skyscraper one of the first things you see when you arrive in Milan by train. I am very curious about the interiors of this building, and I hope that some day I can explore it and find out a bit more about this very special architect.
December 11th, 2025, the day we went outside the city center. I want to preface this paragraph by saying that this building was also a big surprise for me, as I didn't know it existed and the surroundings were not the nicest. Walking towards it I was still not that surprised, as the exterior was somewhat similar to that of Chiesa di San Francesco. I am talking about Chiesa di S. Maria Annunciata at l’Ospedale Maggiore, more specifically in Via S. Giusto, Milan. The outside, although grand, did not have many layers. Its brutalist, somewhat flat architecture, makes you think you’re going to walk into a space with a similar feeling, but I was wrong thinking that.
The interior of this church is what I would call a masterpiece. What from the outside seems dark, becomes a naturally illuminated temple that goes beyond what is expected from a church. No golden decorations, no big paintings, almost no color, no reflective surfaces, just pure architecture with god as the center.
Throughout this text, the buildings described kept getting grander and grander, so I want to conclude with a step back, talking about a simple, yet meaningful residential building, which I think also represents the essence of Gio Ponti.
On December 11th 2025, we visited Casa Ponti in Via Dezza 49, a place where the architect himself lived, and where his studio (now his archives, run by his family) was located. The building is characterized by what feels like a random explosion of color, that makes the facade dynamic and memorable. The long balconies, which I feel represent very well the contemporary way of living, allow for light, air and nature to transition into the home, while also offering a space for people to connect with the city that is just outside, waiting to be explored.
Visiting the Gio Ponti archives on this day was an amazing privilege that I will always be thankful for. Thanks to Massimo, we learned so much about Italian icons and were inspired to create a world of our own, using design as the starting platform. Throughout this experience I learned that design is not only about beauty, but about meaning, context and passion. I wish that everyone could see design and architecture the way I do after this experience.
All of this said, it is a fact that when speaking about buildings, objects and culture in Italy, the name Gio Ponti is always in the conversation, whether it is about the past or the future. He created a blueprint, he put italian design on the map, and those like me who had the opportunity of studying his work, understand his cultural importance, which I hope to someday transmit to a future generation, just like Massimo Martignoni did with us.
References:
Irace, F., & Leoni, M. (Eds.). (n.d.). Figure: Ritratti dal professionismo milanese. Gio Ponti. Fondazione dell’Ordine degli Architetti, Pianificatori, Paesaggisti e Conservatori della Provincia di Milano; Gio Ponti Archives.
Domus. (n.d.). Gio Ponti. Retrieved April 15, 2026, from https://www.domusweb.it/it/progettisti/gio-ponti.html