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Italy’s contribution to post-war architecture has been equivocal, and the critical assessment of many of her new buildings an uneasy exercise. One among the many difficulties has been the brilliant and formally perverse way in which Italian architects have underlined the falsity of the old equation between classical purity and machine technology that has bedevilled critics and architects alike since long before Le Corbusier made it eloquent in Versl une Architecture. Using traditional craft and pre-technological materials to produce supposedly mechanistic effects of smooth precision, the Italians coincided with Le Corbusier's beton brut, in accidentally undermining the symbolic values of the machine aesthetic, and reduced its stern canons toa formalistic game. Through all the resulting chaos and equivocations. Gio Ponti (everybody’s favourite ides of an Italian artist-architect) has picked his way with a politician's skill, dashing off one sizzling design after another, many of them elegant trivialities, infuriating his more committed contemporaries. Then in 1958 he emerged as co-captain with Pierluigi Nervi of the team that conceived a building that proves him to be more than just an elegant trimmer to the winds of fashion.
It is that aspiration that Ponti wants the observer to see, for the Pirelli, like most great modern buildings, is a statement, a proposition (‘slogan’, says Ponti). As a counterblast to the endlessness and repetitiveness of curtain-wall architecture. Ponti wanted Pirelli to be read as closed form: a forma finita. Because it is just on the point of closing it is read as closed far more securely than if it were finally shut and finished. It may not be a very grandiose ambition to create a building in which a fairly simple formal intention is to be read, but it is quite something to have achieved it in an idiom like that of modern architecture, which has produced so many buildings that will be forever inscrutable to the main in the street or piazza.
Banham R. Age of the Masters: A Personal View of Modern Architecture. Harper & Row., 1975. P. 116-117.
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