"Combining the experimental and innovative dimension with a professional multidisciplinarity able to deal with design programs of every scale".

 

There are at least three or four methodological levels through which it operates Carlo Ponzini, who wears his personality well: in the first place, he is not there doubt, the construction of residential buildings, projects of villages and districts destined to family dwellings; therefore, the major activity commitment of the architectural project. To this we add some ideas special or unusual proposition, such as the project for the construction of a tower on the banks of the Po, multifunctional, technological and revolving, to be understood as a pole of connection between the river and the city of Piacenza.
A second level is interesting for the work of Ponzini is the careful renovation and recovery of buildings, but not only, as was the case for some biotopes of the Piacenza area, all matured. In dealing with this
architectural genre will increasingly emerge falling in love, interest in it a deep relationship with the territory and with the planned place an intervention story.
Here the architect places himself in a careful position of observation and listening, through perception also what is behind the immediate visible and comes into contact with the essence of that brief fragment of land on which he is called to intervene.
In the recovery of the architectural tradition, respecting both a more or less past less distant, both in history, we are not always confronted with other macroscopes, as can happen in some other Italian regions. The landscape heritage of our country, as is known, consists of ancient, Etruscan and Roman, medieval villages, parts of "ideal cities", legacy of the Renaissance and the Baroque. However, there are large areas of apparent minor resonance
historical-cultural, characterized by a provincial urbanization, but permeated from an undisputed dignity, which refer to the settlements of the eighteenth-nineteenth century, up to affect the first decades of the twentieth century. However, within these areas find, along the most varied routes, castles of different eras and buildings of worship
more or less ancient, always with significant artistic value.
Intervening in this area by the architect Ponzini has always represented a poetic interpretation of the "vernacular" lexicon of architecture, that re-propose small forgotten stories, an invitation to reconsider social life and group of a past not so far, but unfortunately we are a little lost. An example that can be referred to, to better understand them
the meaning is the gastronomic one, where some chefs reinterpret traditions rooms of the kitchen, but applying and superimposing on that reread the sign of their personality. So, even better in architecture is the revival of
a tradition reinterpreted.
In the history of modern international architecture can be found examples of the exception of typologies that refer to the vernacular; just think of the English cottage, to a type of dwelling that derives from an anonymous tradition
popular, which some architects of the early twentieth century have rediscovered. At this that Hermann Muthesius, a German architect and diplomat, went to London to study that kind of housing.
Another important reference to which reference can be made is the vernacular architecture Scottish, who was inspired - always at the beginning of the 20th century - Charles Rennie Mackintosh in designing his superb mansions. The identification of the idea of "Essence of the place", in the innermost sense of the term, has led since the times of the Latin civilization to coin the definition of "genius loci" which, though simplifying, we can define as the tutelary deity of that heritage that the architect is preparing to interpret.
Other guidelines that characterize the work of Carlo Ponzini should also be underlined, all present in his recent architectural interventions and, therefore, must be called into question. Above all the relationship with technology, from theory to resort to the most sophisticated instruments that the specialized industry proposes the most innovative materials; and still the techniques of transformation, or the refined domotic-IT management of the built environment; and, last but not least, proper bioclimatic design and use of renewable energy sources.Other guidelines that characterize the work of Carlo Ponzini should also be underlined, all present in his recent architectural interventions and, therefore, must be called into question. Above all the relationship with technology, from theory to resort to the most sophisticated instruments that the specialized industry proposes the most innovative materials; and still the techniques of transformation, or the refined domotic-IT management of the built environment; and, last but not least, proper bioclimatic design and use of renewable energy sources.
For those who address these issues, it is essential to understand history and culture technological design; the study of materials, natural or artificial that are, the design of the elements and systems. Furthermore, attention must be paid to the unexpected dynamics that constantly appear and which are inserted into the performance and in "quality controls". Observations that suggest a referenceto the many works of Carlo Ponzini present in these pages.
A figure connotes the artisticity of architect Ponzini in the final part of each work: the search for the semantic "sign", understood as a fulcrum; the finishes and combinations of materials as resolutive of the project itself, to then define it entirely.
So he intends to enhance the detail to propose it again with the most careful care and expressive force, both from the formal point of view and in the choice of materials.
A secret, but perhaps a continuous thought-tribute to the unforgettable Carlo Scarpa, despite knowing that some acrobatic and dichotomous solutions devised by that great Venetian can no longer be proposed, if only for the update of laws and regulations that increasingly condition the architectural project.
As Gio Ponti wrote, "love architecture for what is fantastic, adventurous and solemnly he created - he invented - with his abstract, allusive forces and figurative that enchant our spirit and abduct our thinking: scenario
and rescue of our life [...] Love modern architecture, understand it the tension towards an essentiality, the tension towards a marriage of technique and of fantasy, understand the culture, art and social movements in which it participates ".
Carlo Ponzini, there is no doubt, he loves architecture and expresses this passion in each project, with grace and attention to detail, as an extra figure to distinguish all his work.

Daniele Baroni

There are at least three or four methodological levels through which it operates Carlo Ponzini, who wears his personality well: in the first place, he is not there doubt, the construction of residential buildings, projects of villages and districts destined to family dwellings; therefore, the major activity commitment of the architectural project. To this we add some ideas special or unusual proposition, such as the project for the construction of a tower on the banks of the Po, multifunctional, technological and revolving, to be understood as a pole of connection between the river and the city of Piacenza.
A second level is interesting for the work of Ponzini is the careful renovation and recovery of buildings, but not only, as was the case for some biotopes of the Piacenza area, all matured. In dealing with this
architectural genre will increasingly emerge falling in love, interest in it a deep relationship with the territory and with the planned place an intervention story.
Here the architect places himself in a careful position of observation and listening, through perception also what is behind the immediate visible and comes into contact with the essence of that brief fragment of land on which he is called to intervene.
In the recovery of the architectural tradition, respecting both a more or less past less distant, both in history, we are not always confronted with other macroscopes, as can happen in some other Italian regions. The landscape heritage of our country, as is known, consists of ancient, Etruscan and Roman, medieval villages, parts of "ideal cities", legacy of the Renaissance and the Baroque. However, there are large areas of apparent minor resonance
historical-cultural, characterized by a provincial urbanization, but permeated from an undisputed dignity, which refer to the settlements of the eighteenth-nineteenth century, up to affect the first decades of the twentieth century. However, within these areas find, along the most varied routes, castles of different eras and buildings of worship
more or less ancient, always with significant artistic value.
Intervening in this area by the architect Ponzini has always represented a poetic interpretation of the "vernacular" lexicon of architecture, that re-propose small forgotten stories, an invitation to reconsider social life and group of a past not so far, but unfortunately we are a little lost. An example that can be referred to, to better understand them
the meaning is the gastronomic one, where some chefs reinterpret traditions rooms of the kitchen, but applying and superimposing on that reread the sign of their personality. So, even better in architecture is the revival of
a tradition reinterpreted.
In the history of modern international architecture can be found examples of the exception of typologies that refer to the vernacular; just think of the English cottage, to a type of dwelling that derives from an anonymous tradition
popular, which some architects of the early twentieth century have rediscovered. At this that Hermann Muthesius, a German architect and diplomat, went to London to study that kind of housing.
Another important reference to which reference can be made is the vernacular architecture Scottish, who was inspired - always at the beginning of the 20th century - Charles Rennie Mackintosh in designing his superb mansions. The identification of the idea of "Essence of the place", in the innermost sense of the term, has led since the times of the Latin civilization to coin the definition of "genius loci" which, though simplifying, we can define as the tutelary deity of that heritage that the architect is preparing to interpret.
Other guidelines that characterize the work of Carlo Ponzini should also be underlined, all present in his recent architectural interventions and, therefore, must be called into question. Above all the relationship with technology, from theory to resort to the most sophisticated instruments that the specialized industry proposes the most innovative materials; and still the techniques of transformation, or the refined domotic-IT management of the built environment; and, last but not least, proper bioclimatic design and use of renewable energy sources.Other guidelines that characterize the work of Carlo Ponzini should also be underlined, all present in his recent architectural interventions and, therefore, must be called into question. Above all the relationship with technology, from theory to resort to the most sophisticated instruments that the specialized industry proposes the most innovative materials; and still the techniques of transformation, or the refined domotic-IT management of the built environment; and, last but not least, proper bioclimatic design and use of renewable energy sources.
For those who address these issues, it is essential to understand history and culture technological design; the study of materials, natural or artificial that are, the design of the elements and systems. Furthermore, attention must be paid to the unexpected dynamics that constantly appear and which are inserted into the performance and in "quality controls". Observations that suggest a referenceto the many works of Carlo Ponzini present in these pages.
A figure connotes the artisticity of architect Ponzini in the final part of each work: the search for the semantic "sign", understood as a fulcrum; the finishes and combinations of materials as resolutive of the project itself, to then define it entirely.
So he intends to enhance the detail to propose it again with the most careful care and expressive force, both from the formal point of view and in the choice of materials.
A secret, but perhaps a continuous thought-tribute to the unforgettable Carlo Scarpa, despite knowing that some acrobatic and dichotomous solutions devised by that great Venetian can no longer be proposed, if only for the update of laws and regulations that increasingly condition the architectural project.
As Gio Ponti wrote, "love architecture for what is fantastic, adventurous and solemnly he created - he invented - with his abstract, allusive forces and figurative that enchant our spirit and abduct our thinking: scenario
and rescue of our life [...] Love modern architecture, understand it the tension towards an essentiality, the tension towards a marriage of technique and of fantasy, understand the culture, art and social movements in which it participates ".
Carlo Ponzini, there is no doubt, he loves architecture and expresses this passion in each project, with grace and attention to detail, as an extra figure to distinguish all his work.

Daniele Baroni

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