i.SPACES by Politecnico di Milano

i.SPACES

i.SPACES by Olivia Giselle Sofronie

Didactic exercise Fall Semester 2010

Interior worlds: “i.SPACES” Main Editor Gennaro Postiglione Course of Interior Architecture Faculty of Architettura e Società Politecnico di Milano www.lablog.org.uk Editor Olivia Giselle Sofronie

only for pedagogic purpose not for commercial use

INDEX 00_i. SPACE by Paolo Giardiello 01_Palzzo Castiglioni 02_Ryabushinsky House 03_Beurs van Berlage 04_Kirche am Steinhof 05_Garage in Rue de Ponthieu 06_Villa Karma 07_Vertigo 08_Fantasmagorie 09_Payne Whitney House 10_Casa MilĂ 11_Palazzo Berri-Meregalli 12_Ice Mask 13_Grand Central Station 14_Melancholy and Mystery of a Street 15_Imperial Hotel 16_Villa at Huis ter Heide 17_Metropolis

18_D.L. James House

39_Walter Gropius House

19_Merzbau

40_Woodland Crematorium

20_Tatlin’s Tower

41_Frey House

21_Hangar d’Orly

42_Nighthawks

22_Kings Road House

43_St. Francis Church

23_Transverse Line

44_Loewy House

24_Zig Zag Chairs

45_World War II

25_Zeiss Planetarium

46_Unite d’Habitation

26_Door

47_Rose Summer House

27_Completed

48_Atomicus

28_Goetheanum

49_Glass House

29_Nestlé

50_General Motors Technical Center

30_Salginatobel Bridge

51_Farnsworth House

31_Aluminaire

52_Walker Guest House

32_Exhibition of the Decade

53_Golconda

33_Kirche am Hohenzollernplatz

54_IKEA

34_Fallingwater House

55_Museo Castelvecchio

35_Hand with Reﬂecting Sphere

56_Bugler’s Nephews

36_Ufﬁci Montecatini

57_Superleggera

37_Lichtdom

58_Dulles Airport

38_The Kiss Gate

59_Salk Institute

60_Triple Self Portrait

81_Av stagg Art

61_The Walking Man

82_Reno Dakota

62_Bordando el Matro Terrestre

83_Hundertwasserhaus

63_Linear construction no.4

84_Exhibit

64_Walking City

85_Dan Perjovschi

65_Environment-bubble

86_Laurie Mallet House

66_Cuadra San Cristóbal

87_Gaulino

67_US Pavilion at Expo ‘67

88_Parkour

68_House 1990

89_La Vilette

69_The Pack

90_Flor da Rosa

70_Misura

91_Kinetic Sculpture

71_TV Cello

92_Ardi

72_Cylindrical Inﬂatable House

93_Miller/Jones Studio

73_Time Capsules

94_Luci Bianche

74_Splitting

95_Kolonihavehus Installation

75_Neon

96_Symbiosis

76_VOAEX

97_Santa Caterina Market

77_The New York Earth Room

98_Issey Miyake

78_Steel House

99_Tara

79_Ghost Parking Lot

OWN i_i.SPACE

80_Three ﬁgures and four benches

i.SPACES Paolo Giardiello

Abstract Just as nature is constantly changing, the space too is subject to change. A space that is structured and solid indicates that the change has stopped, and the cessation of change means the death of the space. The moment from which space is fixed, it gradually gets polluted, decays, and finally dies. Kamo-no-Chomei, who pursued purity, wrote, ‘The current of the flowing river does not stop, and so the water is never the same.’ Constructed space is defined by its shape, by the materials with which it is enclosed and by the objects that are placed within or decorate its exterior or interior. Placing the human being into the constructed space gives life to the space, as the user becomes protagonist of the setting, and the enclosure starts to provide shelter for the actor. Mircea

Eliade claims that the notion ‘to enclose’ in primitive societies derived from a cosmology ‘to protect oneself from the unknown, invisible world that unfolds outside the enclosed area.’ Therefore Marc Augé defines the nonplaces, as spaces of relationship, polifunctional and symbolic containers, that cannot be defined on the basis of their identity. Eliade mentions. ‘symbolic thinking cannot be severed from human existence. The reason is because it existed before language was developed.’ The mere role of ‘user’ that a man gets in non-places is redefined by the evolution of spaces into superspaces and iperspaces. The transition is made through the path of the iSpaces, a term proposed exactly for indicating the social experience nowadays. Rethinking the meaning of spaces as virtual spaces – Google

Talk, Facebook, Twitter, Youtube, Vimeo, Flickr, My Space, E-bay – and inverting their meaning is what iSpaces talks about. Spaces deﬁned by interactivity fusion into a more independent, imaginative and interesting approach to the places-to-be, physicaly constructed and accommodated in relationship with the people. ‘I’ can have - and gets - a lot of meanings created by the spaces in continuous self-assessment from a topological and anthropological perspective.

Paper Paolo Giardiello Universita degli Studi di Napoli “Federico II” (Italy) It becomes necessary to coin a new term when it is impossible to communicate a phenomenon or a thing with words that already exist, to give an expressive, repeatable and concrete form and so a deﬁnition to a process. In trying to deﬁne “interiors key-words”, we need to distinguish words which describe actual phenomena, therefore “spaces or forms which express the future of the interiors in nuce” designed for the life of man, the words which describe the current or already consolidated phenomena with those terms which instead intend to communicate situations in evolution or even processes not yet fully shared or recognized. Having new verbal signs

represents new ways of living and could even contribute to the definition and promotion of contents for which there will be significant expressions. The term which is proposed – iSpace – is not without roots and has a long and critical scientific path characterized by other words which were already known and used in the past. However, they are inadequate to indicate today’s transformations and ongoing processes in which they exist and are used in a theoretical way, but are not always tangible. With iSpace we want to indicate the evolved, shared and socially useful form – therefore the prospect of possible future development – declined in its own coherent and current language, not changed by other typologies or formal expressions, of those spaces of relationship, poli-functional and symbolic

containers, which our daily life is full of. These spaces have already been defined as non-places by Marc Auge and in their evolution and social expansion redefined as superspaces and iperspaces. Therefore, to understand these new terms, taken from daily technological language, it is necessary to reread the studies of the 80’s about spaces that were developed, forgetting the characteristics which make an empty space a lived one and a useful space a significant and symbolic one. In 1986 Marc Auge coined the term non-places by which he meant all those places which are produced by supermodernity, which cannot be defined on the basis of their identity, relationships and historical aspects, characteristics which on the contrary determine the very concept of “space”. Even if Auge’s theories are referred to a social and economic situation that differs from the current one, they remain exemplary from an anthropological viewpoint, because they have succeeded in expounding, with great clarity and equally great concern, the danger of alienation and loss of personal values to which the individual is exposed. Moreover, his studies have highlighted the difficulty of managing functional spaces which do not create an organic social event, but rather a condition of “solitary contractuality” which is defined not so much by the communicative impact of the architecture as by the “words” which slavishly describe environments, suggesting behaviours and goals. Man’s role is reduced to that of a mere “user”, without any cultural and psychological expectation, something which results in a loss of identity.

A more recent neologism, superspace reinterprets the meaning of non-places within the context of a global society, based on new lifestyles and on completely different expectations of social relationships, in the final analysis revising the judgment of value and relation with the territory. The superspace interprets the need to have immediate and complex, diversified and simultaneous responses (solutions from public and collective places, both in the territory and in the historical space of the city); from an anthropological point of view it therefore represents the meeting of a need for a social space in which to consume the rites of everyday life. But these places, differentiated and contradictory, fail to put into words a symbolic aspect that may represent a model and image of the identity of the new social networks. The transition between the non-places analyzed by Auge and the present-day super-places is characterized by an inability to create new languages. Scenic effects prevail on substance, and rather than giving a concrete form to a new function, the architect creates a stage on which to live a dreamed reality which may serve as a noble background to the more pragmatic and material action of consumption, be it material or behavioural. The renunciation – cultural, social, and architectural – to define a contemporary form, in order to seek refuge in a design of ideal and idealized worlds and lifestyles, is the underlying cause of hyperspaces. The last frontier area in which to meet, get to know one another, shop, find information and enjoy exciting experiences. However, it is not a matter of real places, but of virtual dimensions, in which it is

nevertheless really possible to carry out these operations. Cyberspaces used by internet navigators, some of which are informal – a chat, a social network – and some of which are planned, also in their formal expression, such as Simcity and online role plays. Today the reality of superspaces risks more and more to look like the immaterial realty of hyperspaces because it prefers to go to a place, that is artificial manifestly, far from urban spaces, as long as it has precise performances: it must be accessible quickly and easily, it must be efficient and it has to be able to satisfy any hourly need, it must be soothing in the offer, and it must change with fashion. Exactly like a web-site chosen with a few clicks. There always exists a precise coincidence, or even an overlap of means between virtual and real places. Atopical places characterized by solitude, by eradication from context, as Auge said. Places that represent and produce more levels of guided, controlled and filtered relationships, and that morally absolve from isolation. To try to understand what could be a possible payoff of these places that now appear necessary for daily life and, at the same time, destructive of the constructive basis of social relationship, we must start from the consideration that some virtual hyperspaces can represent the critical answer to superspaces, like a dream and a decadent style form of material and functional need. Now social networks, virtual communities, theme forums, blogs, news online, shopping online are daily habits and are also the alternative to physical displacement in the places where it is possible to do these different activities. They

are personal places but not exclusives, which help to enhance relationships and to create new communication conditions. Today the PC is the open window on the world, not only to observe but also to interact concretely with. These virtual places that are contained in the small technological and portable world become welcoming, recognizable, expressive and communicative, and they suggest a creative and selective relational globalization. These places, global and homogeneous but not approved, are places where the individual can choose and assert and communicate his character, his ideas and where he can still hope to have free expression. To break the rules and the contract conditions imposed by nonplaces before and by superspaces after, permits to choose not only the form but also the measure and types of relationship that we want put to use in balancing to satisfy both social relationships and individualities. It has been shown that globalization can be used to our advantage if it becomes a shared and intelligible language by all; that is, if it is possible to propose an agreement between contents and expressive forms. If these considerations seem obvious, what needs to be done is to translate this into a comprehensible architectural form, and then experiment with it. Above all this means redeﬁning an architectural language for these functional containers, ﬁnding a location and a relative system connected with the consolidated historic city and the territory, which is continuative and not fragmented. It means proposing morphologies of the spaces and connections between the

functional events which come from traditions, but which are at the same time totally adequate for the foundation of newly constructed realities and that therefore avoid returning to language and conformations belonging to the past. Future iSpaces will be places of transit, commerce and entertainment whose material form will always return to the new function they represent and where the articulation of spaces will consider the physical and psychological needs of users will be able to creatively use the relationship spaces, defining them and adjusting them to their own needs, moods and characters. They will be spaces where you can experiment sensations and emotions, and not where you are subjected and stimulated by publicity or other means of promotion; spaces where you can have your own personal choices and not where one’s solitude is amplified, where you can communicate and meet, where you can study and bring into play your life experiences. All things considered a real, physical and tangible space, where it is possible to reconstruct dynamism, flexibility and creativity that are embedded in “virtual places”, which define and condition the new system of relationship and communication today. For this reason the iSpace term has the suffix “i” in addition to the concept of “space, place”. Starting from the very famous Apple’s products, this suffix is now a concept based on everything that suggests “interactivity”, and indicates instruments and ways that are more like “interfaces”, which can relate and connect to others systems, rather than objects with a precise and determined function but

closed in its own raison d’être. As previously said, the interactivity implies that the user can choose, autonomously construct the system of actions and information needed, adapting objects or spaces as desired in order to never put up with conditionings, prepackaged offers. The user, from passive viewer, from simple user, becomes protagonist and actor of the choices he wants to make and of the character of the setting that he lives in. Thanks to a real interactivity, and not as a slogan, the places can to be different from user to user, from day to day, in that they are really “designed” for the occasion of each visitor. Spaces of interaction and exchange and therefore spaces that are very flexible and adaptable and not defined and absolute in which every desired or requested action can be achieved. At last, spaces full of personality, of “identity and relationship character” and no longer aesthetic concentrations of functions where people can do what they need to do, but finally significant spaces where people can spend their free time creatively and free. A relational and identity character, however based on new values that change the attention from typology and morphology of a space to its flexibility and adaptability, from direct communication between the space and the user to the possibility of weaving new relationships and connections with the space you are in, while at the same time with other similar spaces with the same capability, from the delimitation of the defined function to the opening towards other needs and requirements through which it is possible to understand reality and to com-

municate with others. We speak again of “spaces” to return to the original deﬁnition suggested twenty or more years ago by Marc Auge, daily spaces, of the present where utopia can be cultivated and therefore the hope of designing a place which is ﬁt for everyone and capable of adequately narrating one’s life.

References Augé, Marc. 2005. Un etnologo nel metro (1986). Trans. Francesco Lomax. Milano: Elèuthera. Bittanti, Matteo. 2005. Civilization. Storie virtuali, fantasie reali. Milano: Costa&Nolan. Ceolin, Mauro. 2004. SOLIDlandscapes series, for the exhibition Mauro Ceolin: Videogame Landscapes, November 13 – December 18. Brescia (Italy): Fabio Paris Art Gallery. Desideri, Paolo, and Massimo Ilardi. 1997. Attraversamenti: I nuovi territori dello spazio pubblico. Genova: Costa&Nolan. Jenkins, Henry. 2006. Convergence Culture: Where Old and New Media Collide. New York, London: New York University Press. Lévy, Pierre. 1997. Cyberculture. Paris: Jacob. Paris, Mario. 2009. Urbanistica dei superluoghi. Rimini: Maggioli. Sassen, Saskia. 2002. Global Networks, Linked Cities. New York, London: Routledge.

ATLAS

‘01/i.SPACE/inviting SPACE

Built by Giuseppe Sommaruga in 18671917, it‘s the artistic manifest of Art Nouveau (‘liberty or ﬂoral style’), in Milan. The palace is both imposing and impressive, still giving the feeling that it invites you in, like a long forgotten castle. A building that transcends the time and re-deﬁnes itself in a new century.

‘02/i.SPACE/interesting SPACE

One of the Moscow’s most enjoyable Art Nouveau creations is the Ryabushinsky House (now the Gorky House Museum). Schechtel never committed himself to a single style. His Ryabushinsky House combines the internationalized, reﬁned Art Nouveau with the grand and monumental vision of Moscow in the belle époque.

â&#x20AC;&#x2DC;03/i.SPACE/insightful SPACE

A red brick building placed in the center of Amsterdam stands for the aim of the architect and rejects the styles of the past. The open-plan interior takes the visitor into a promenade through much earlier times.

‘04/i.SPACE/ inspiring SPACE

The reﬁnement of Koloman Moser can be seen in the mosaics and stained glass that decorate the Kirche am Steinhof, situated 310 meters above sea level and built by Otto Wagner. The artist was one of the foremost artists of the Vienna Secession movement and exerted considerable inﬂuence on twentieth-century graphic art.

‘05/i.SPACE/industrial SPACE

Reinforced concrete combines the monolithic compressive strength of concrete with the tensile strength of steel rods. The structural frame, in addition, creates point supports that eliminate stationary, load-bearing partitions within the apartments, and this results in potentially flexible, open plans. The facade of the garage is an exposed reinforced-concrete frame filled in with glass and arranged according to classical rules rather than by inner structural logic. Its stark rectangularity and openness stand for the industrial first-sight appearance.

‘06/i.SPACE/integrated SPACE

The ﬁrst building of Adolf Loos was a project of transforming an old structure into a modern country house. In its single conception of volumes, spaces and plans, the entire work already has all the characteristics of Loos’s future projects. The second skin applied to the old farm was punctuated with four corner towers. The entire space achieves in this way personality and architectural value.

â&#x20AC;&#x2DC;07/i.SPACE/identity SPACE

Something about the small and alone feeling on the earth curve, in a space that seems to bend over before the universe. The expressive use of black depicts a lone ďŹ gure in a dreamlike space, conveying a sense of melancholy and silence. Inspired, one is placed by the painting, as by music, in the ambiguous realm of the undetermined.

‘08/i.SPACE/illusion SPACE

It is a simple stick figure that moves about and encounters all manner of morphing objects: like a bottle of wine that transforms into a flower. The first hand-drawn animation is a bunch of 700 drawings, and their progression creates a unique space, developed by the easy modifying dimensions of the Line.

‘09/i.SPACE/imposing SPACE

Designed in the style of the high Italian Renaissance, the building stands as one of the great architect’s ﬁnest mature works. The space reﬂects an abundance of the decorative elements, highlighting the imposing character of the building.

â&#x20AC;&#x2DC;10/i.SPACE/ingenuous SPACE

Structured as a biomorphic space, the building seems to move independently in its own environment. Like a living organism, it seems to dig out the windows and doors of the wavelike mass of stone. The chimneys that seem like knights wearing visors, the marine interior decoration and the elegant sculptured spiral stairs make up of Casa MilĂ a fantastic and futurist space.

â&#x20AC;&#x2DC;11/i.SPACE/introductive SPACE

The structure of the building presents a number of sculpture decorations, polychrome mosaics and paintings. The sculpture of Alfonso Widt in the lobby of the palace represents the head of an alar victory. Overall, the whole building is characterized by a set of Romantic, Gothic, Renaissance, Art Nouveau forms and by the diversity of the various materials ranging from glass and metal up to stone and brick.

‘12/i.SPACE/ice SPACE

A memorable image from the Australian photographer Frank Hurley, that presents the ﬁgure of C.T. Madigan in the ﬁrst Australasian Antarctic Expedition. The low temperature, the cold weather, creates a safe space by inserting a layer of protective ice between the inner human organism and the inert organism of surrounding nature. An instant of an entire experience, immortalized as a rich space of life kept still inward.

â&#x20AC;&#x2DC;13/i.SPACE/interaction SPACE

The grand building of the New York Terminal is a cavernous space usually ďŹ lled with bustling crowds. The interior assumes lightness and emphasizes architectural connection between the interior and the exterior of the public space.

â&#x20AC;&#x2DC;14/i.SPACE/interwoven SPACE

Interwoven light and darkness, the cracked sky opened to expose the electricity here. A gold sun bathed setting, a metaphysic environment, with elements that seem to be on the canvas long before their time. The painting becomes poetry by condensing voluminous feeling through metaphor and association, contracting the near and the far, enchanting oneâ&#x20AC;&#x2122;s sense of space.

â&#x20AC;&#x2DC;15/i.SPACE/imperial SPACE

Intrigued by the Japanese culture, Wright lobbies for the project of the Imperial Hotel in Tokyo. Commissioned in 1916, the hotel was to represent the emergence of Japan as a modern nation and to symbolize the modern vision of the country in relation with the West. The Imperial Hotel was demolished in 1968, but the entrance lobby was saved and reconstructed in a museum, as a space of recognition of the once imposing building.

â&#x20AC;&#x2DC;16/i.SPACE/inside-outside SPACE

The correlation between the interior and the exterior is well articulated through the large windows, the complete transparency and lightness of the frontier creating a secluded interior, easily separated from the outside and still in permanent connectivity with it.

â&#x20AC;&#x2DC;17/i.SPACE/iminent SPACE

The painting made by George Grosz expresses the tension of a space, articulated through the use of vibrant colours and through the story it enlightens. Nevertheless, the intrigue gets to group the interior and the exterior of the frame, as we can easily observe elements from both the private setting and from the outdoor surroundings.

â&#x20AC;&#x2DC;18/i.SPACE/in the outside SPACE

Creative and ambitious, the James house is a unique monument. The material of which is constructed is practically the same rock as that upon which it is built. The long narrow pieces of this stone have been cut into horizontal ďŹ ssures by very deeply struck joints of uneven width, creating an interesting space full of personality and impulse.

‘19/i.SPACE/impulsive SPACE

A rambling and ever-changing agglomeration of architectural elements and found objects, a collage of materials and sculptural forms affixed to the existing architectural structure and later emerging from holes the artist cut into the ceiling and floor. The space founds visual poetry in the castoff junk modern society and used the detritus as the core of the metabolism of the created space with no defined borders or limits.

‘20/i.SPACE/issued SPACE

The utopian project of the Third Communist International stands as a symbol for the Russian avant-garde architecture and International Modernism. The unique shape of the steel structure is founded on the artist’s concept of “real materials in real space”, emphasizing the design principles based on the inner behaviour and loading capacities of the material.

â&#x20AC;&#x2DC;21/i.SPACE/integral SPACE

The building envelope of the two hangars, destroyed in WWII by American aircrafts, was made up of a series of parabolic arches, each formed in the shape of a vault, that when connected, created an undulating pattern, similar to that of corrugated cardboard. The design of the structure allowes for a free expression of materials and spaces while working within the limits of technology.

‘22/i.SPACE/implicit SPACE

Serving as prototype for a distinctly Californian style of design, the building was meant to be a cooperative live/work space for two young families. Built on a flat concrete slab, which is both the foundation and the final floor, the house has concrete tilt up slabs walls, poured into forms on top of the foundation. In this construction, the architect expresses his philosophy about structure and materials most clearly, but the entire site demonstrates his exploration of the relationship of space, light, and form.

â&#x20AC;&#x2DC;23/i.SPACE/inherent SPACE

Abstract painting, but with an incredible sensorial richness, in which the forms and the colors seem to create a two-dimensional space. The point and the line become physical support for the condensed space held altogether by the effect of their forces. It is thus created the both lyric and dramatic space discovered through the richness of the composition.

â&#x20AC;&#x2DC;24/i.SPACE/ inside out SPACE

Broking new ground in furniture design, the two wooden chairs seem to embrace each other and become an unique space, a space to be possessed, a space turned inside out. It is like a refuge, as if sat you would instantly close the limits between your world and the others.

â&#x20AC;&#x2DC;25/i.SPACE/inďŹ nite SPACE

More than 20 years before Buckminster Fuller reinvented and popularized the design of the geodesic domes, was built the projection planetarium in Jena, a net consisting in steel bars covered with a thin lattice of wire and a concrete coating. The innovative structure manages to capture the enchantment of the outer space, turning it into a new and fascinating experience.

‘26/i.SPACE/identical SPACE

A door opens and closes. Sometimes it opens up to the inﬁnite possibilities of reality, forcing us to have a thousand eyes: on our nose, the nape of our neck, our ﬁngers, our rear end. We move backwards. When the door closes the room to the left, it opens the one to the right. Duchamp thought that the creative act was not performed by the artist alone. It is the viewer who puts the work in touch with the outside world by deciphering and interpreting its internal characteristics.

â&#x20AC;&#x2DC;27/i.SPACE/impartial SPACE

The inner life of a modern soul is the foundation of the spirit of this work. A meditation on Nature in a surrealist vision, exploring the integrity of the disintegrated space. Poetic, simple but profound, the painting reverences before the philosophy of every life journey.

‘28/i.SPACE/independent SPACE

Characterized by a liberation from traditional architectural constraints, the architecture of the Second Goetheanum achieves organically expressive forms. Intended to be a Gesamtkunstwerk (the synthesis of diverse artistic media and sensory effects), infused with spiritual signiﬁcance, it then became a deﬁnite and independent space, full of meaning and power of intentionality.

â&#x20AC;&#x2DC;29/i.SPACE/information SPACE

The dismountable NestlĂŠ stand has a strong typographic quality and also seeks continuity between interior and exterior by utilizing the graphic design of its facades to draw the visitor inside. The collage works like a huge interchangeable poster, depending on the fair. The space becomes that way independent, with its own move, seeking an image rather than an opening.

â&#x20AC;&#x2DC;30/i.SPACE/interconnecting SPACE

Over the Rhine, as an outstanding engineering feat and modern work of art, the Salginatobel Bridge has an almost magical attraction to experts and artists alike since its completion in 1930. Declared a â&#x20AC;&#x153;world monumentâ&#x20AC;?, its visual elegance goes together with its technical brilliance, exploring the natural environment in which it is settled and thus completing the panoramic view of the space.

â&#x20AC;&#x2DC;31/i.SPACE/intercepting SPACE

The house was designed in glass, aluminum and mild steel and was considered as a pilot project to show the latest materials technology sector, a single-family housing prototype that could be easily and economically produced in series. Even though its construction required only ten days, the obtained space had a powerful impact upon the architecture of the time.

â&#x20AC;&#x2DC;32/i.SPACE/impressive SPACE

Adalberto Liberaâ&#x20AC;&#x2122;s installation is a very clear example of the beauty within the simplicity. The geometrical shape of the exhibition room expresses the clarity of the message to be sent and the aim of perfection that the artist wants to reach.

‘33/i.SPACE/impact SPACE

The complete appearance is a good eye-catching ﬂank to the eastern side of the square of Hohenzollernplatz. The basic structure of the church is a concrete skeleton, clad by the façades, ﬁnely structured on the long sides and of even masonry on the narrow sides, all in clinker brick. This form that evoked certain mysticism and the modern as well as voluminous appearance earned the church the nickname Powerhouse of God.

‘34/i.SPACE/ingenue SPACE

Free-ﬂoating platforms anchored in the rock and sent out audaciously over a small waterfall, expressively intersected with the vertical massive walls, all integrated into the green environment that surrounds the house. Wright’s masterpiece is creatively turned into a Lego sculpture, a re-invention of the building converted into an interactive composed space.

â&#x20AC;&#x2DC;35/i.SPACE/in a hand SPACE

Seated, gazing into the sphere, Escher is caught in a framed space, reďŹ&#x201A;ecting the surroundings. As a microcosmos, the world within is kept in a hand, like an independent space, a spherical window to the unprotected real life.

‘36/i.SPACE/inﬂ uent SPACE

Manifest of Italian modern architecture and monument of the new working society, the palace is the representation of the industrial space on the administrative buildings. Drawing the model of industrial architecture, the construction becomes a ﬂexible enclosure of the human needs. Ponti intended to harmonize form with function, in order that his buildings be exemplars of the correct use of materials.

‘37/i.SPACE/illuminated SPACE

Over 150 particularly strong ﬂoodlights beamed right up into the sky during the last NSDAP Party Rally in 1938, creating a vivid spectacle in order to give the impression of a deﬁned solemn space. The columns of light were used in such a way as to generate a spectral architecture, an ethereal architecture made of light, in the middle of which one had the impression that he was in a giant space that extended up into the heavens, like a cathedral of ice.

â&#x20AC;&#x2DC;38/i.SPACE/instance SPACE

Carved in Banpotoc travertine, the Kiss Gate makes the transition to another life. The motif of the pillars stands for the eyes looking inside, two half circles that play the role of the magic creatures that watch over the passerby. It is the gate that welcomes you in life, and also the gate under which you pass away, like a closed circle of the life cycle, a space that lasts for an instance.

â&#x20AC;&#x2DC;39/i.SPACE/inhabiting SPACE

The structure of the house consists of the traditional light wood frame of New England, sheathed with white painted clapboard siding: only in this case the siding runs vertically instead of horizontally. The minimalist color scheme is maintained throughout the house - black, white, pale grays and earth colors, with sparsely used contrasting splashes of red. The house is designed and detailed to work almost theatrically as a whole, uniďŹ ed space.

‘40/i.SPACE/implicit SPACE

The chapel is made to centre on its essential meaning, round the difficult moment of parting. The focal point is occupied by the catafalque and coffin. The entire floor of the big Chapel of the Holy Cross is hollowed out towards the coffin, which is lowered by means of a lift when the ceremony is over. Completing the landscape, the monumental quality was deliberately reserved for the 'Biblical' setting.

‘41/i.SPACE/intuitive SPACE

Built as an experimental design, the small house follows the principles that the architect Albert Frey outlines in his writings and creates a compositional space by joining together the parallel walls in order to create spaces within the landscape. The increased space strives to reach the inﬁnite, and the user is free to experiment it’s possession.

â&#x20AC;&#x2DC;42/i.SPACE/introspection SPACE

Calm, silent, luminous and classic, the space is being celebrated as a solitude and introspection space. This portrayal of modern urban life is sharply outlined by the fact that the space has no way out, no doors or open windows visible. In a sort of manner, it is painted the loneliness of a large city.

â&#x20AC;&#x2DC;43/i.SPACE/indulgent SPACE

This controversial church employs the plastic qualities of concrete by using the same structural element for walls and roof in a series of parabolic arches. Light penetrates the vaulted building through the vertical louvers at the entrance and above the altar. The spaces inside remain relatively subdued, reďŹ&#x201A;ecting reďŹ nements and comfort and expressing the spirit of the whole composition.

â&#x20AC;&#x2DC;44/i.SPACE/ideal SPACE

A typical modernist villa with a lowslung pavilion and plenty of glass that provides striking views of desert, mountains, and the pool and garden that make the private oasis complete. When opened, the sliding glass walls give the feeling that one lives inside the house but also outdoors, creating a tight connection between the interior and the exterior of the residence.

‘45/i.SPACE/imperfect SPACE

Among the consequences of the Second World War there is also the effect it had upon the cities and the fact that it completely changed the way they developed. There were many cases in which a complete reconstruction of the metropolitan areas was necessary, having to recover from a “tabula rasa” condition.

â&#x20AC;&#x2DC;46/i.SPACE/indiscret SPACE

The giant, twelve-story apartment block is the late modern counterpart of the mass housing schemes of the 1920s, similarly built to alleviate a severe postwar housing shortage. The precast individual apartment units are slotted into a rectilinear ferroconcrete grid like â&#x20AC;&#x2DC;bottles into a wine rackâ&#x20AC;&#x2122; as the architect put it. The element obtained is a compound one, like a pixilated virtual space, and this can be easily recognized in the ordering factors of the interior, like the colored doors on the corridor.

â&#x20AC;&#x2DC;47/i.SPACE/indigenous SPACE

Thought as a transition space between the natural context and the private intervention, the sundeck provides an optimal space in order for people to enjoy the exterior while being connected with a safe, comfortable environment. We can easily identify a unifying color scheme throughout the house which extends outside, connecting the interior with the exterior space.

â&#x20AC;&#x2DC;48/i.SPACE/inert SPACE

The idea of suspension, of imponderability is highly sought in the Dali/ Halsman collaboration for the shot of this picture. A freezed moment, an instant kept delayed in order to become a space that composes itself through the Brownian move of the elements. So it is the time that becomes space and the space that turns into endless time.

â&#x20AC;&#x2DC;49/i.SPACE/inward SPACE

The views of the landscape embody the wallpaper of the glass walls, while the entire space symmetry sits solidly on the ground. The structure seems to grow from the environment and become a center-point and a catalyst for the preservation of the surroundings.

‘50/i.SPACE/infatuated SPACE

Set on pastoral grounds outside the city, the ofﬁce complex pioneered a new approach to corporate design. The serene, rural setting set a new standard for ofﬁce buildings. The building, with its sharp creases and comely cherrywood curves, generates a complex space, sweeping and expressive illustration of the neo-expressionism architecture.

‘51/i.SPACE/imperceptible SPACE

The Farnsworth house is a statement of the spatial and architectural concerns that guide van der Rohe’s work. His vision contained in a pure expression of its age was that of a transparent house in a verdant landscape. The open plan, with its intimation of an inﬁnite freedom of movement, opens the space as an organizing factor of the regularity of the building.

‘52/i.SPACE/injected SPACE

Two bays on each side of this guest cottage are ﬁlled with pivoting panels which function in the same time as enclosing walls, ventilating elements, shading devices, and hurricane shelter. The third bay is ﬁlled with glass, to admit light and splendid views. When the panels are closed, the pavilion is snug and cave-like, when open the space psychologically changes and one is virtually in the landscape.

‘53/i.SPACE/ imaginative SPACE

The scene of men floating like helium balloons in a suburban environment seduces the viewer from the firs moment. A pattern appears against a backdrop of buildings and blue sky, and a hexagonal grid may be read. The sincerity of the artist is not childish, but deep and significant for the ones that believe in it.

â&#x20AC;&#x2DC;54/i.SPACE/idea SPACE

It is a place that guides and teaches one to live high and to discover more room by thinking of every surface in their interiors as a usable space, providing multiple functions for the standard objects of everyoneâ&#x20AC;&#x2122;s life. In this way, the products and the solutions proposed squeeze more space out of any room, regardless of size, by organizing it into functional zones that come and go as required.

‘55/i.SPACE/interogating SPACE

Scarpa’s work is characterized by the love for detail, the handling full of sensibility of the precious materials and the pleasure of formal spatial experiences. At Verona, every step is arranged differently, every piece has its own view. The architect does not touch the main facade of the building, but disturbs its absurd central symmetry throughout different interventions and underlines its “exhibition wall” character.

â&#x20AC;&#x2DC;56/i.SPACE/intentional SPACE

The theatre show is rarely a style designer. With a synthetic character, the theatre is to be listened and understood, in an osmotic space kept between physics and metaphysics.

â&#x20AC;&#x2DC;57/i.SPACE/imponderable SPACE

Both visual and literal, the design of Gio Pontiâ&#x20AC;&#x2122;s iconic chair brings with it an injection of weightlessness, an experiment that makes the space around seem light and close to perfection. Working as a catalyst, the concept of Superleggera put in a simple object warps the space and determines a new perspective of the balance between solidity and lightness.

â&#x20AC;&#x2DC;58/i.SPACE/intense SPACE

With colonnades of tipped and tapered columns on its two long facades, a gracefully curving roof hung between them and a pagoda-like control tower nearby, the Dulles Airport reveals itself as a highly distinctive building. The space is extended throughout the design concept, a suspended structure generated by a rectangular plan, on top of which the swooping roof gives an expression of ďŹ&#x201A;ight.

â&#x20AC;&#x2DC;59/i.SPACE/indelibly SPACE

The institute manifests beauty of mind and act; of the resolution and articulation of the major elements of the building...being what it wants to and needs to be, to the precise detail and execution of beautiful concrete surfaces. The central court, as a typical Kahnlike space of shimmering blue water, a band pointing toward the ocean epitomizing what human endeavor can accomplish at one scale with geometric clarity and authoritative but modest deliberation, to give to the scaleless sweep of the ocean, here the PaciďŹ c, a poignant gesture.

â&#x20AC;&#x2DC;60/i.SPACE/impersonal SPACE

Norman Rockwellâ&#x20AC;&#x2122;s painting is about the act of observing and recording images and is also a statement about the art of the self-portrait. The circumstance is divided and then reassembled on the canvas as the artist himself becomes both audience and performer in a multi-dimensional space throughout time.

‘61/i.SPACE/inverted SPACE

The lone figure deep in the vortex draws everything unessential from what surrounds it. It’s the gaunt and insistent silhouette the one that makes the negative shape of the space between the figures became a positive space. It is almost an upside-down impression: am I the figure? And you start feeling like a void that walks in the density of the immateriality.

‘62/i.SPACE/inception SPACE

A number of frail girls with heartshaped faces are caught in a confined tower, embroidering a kind of tapestry which spills out the slit windows and into a void, seeking hopelessly to fill the void. It is a space that generates another space, a layer that emerges and creates a predefined setting of powerful consistence.

â&#x20AC;&#x2DC;63/i.SPACE/intersection SPACE

The work of Naum Gabo can be reduced to the intelligent use of the point, the line and the surface, used at a little scale as well as at a large scale. Art is seen as a temporal and spatial acceleration, a tension of the space in order to turn into timeless experience.

â&#x20AC;&#x2DC;64/i.SPACE/interpretative SPACE

The futuristic view of a new reality is solely expressed through a hypothetical project that experiments with modular technology. It is thus described a mobile setting, light weight, a combination of insect and machine, like a space capsule that offers a seductive vision of a glamorous future machine age.

â&#x20AC;&#x2DC;65/i.SPACE/invisible SPACE

The idea of the project is to give everyone a standard of living package containing all the necessities of modern life: shelter, food, energy, television, in a location that does not constrains men by past settlements. The increased ephemerality leads to the furthest limit of controlled space with lots of alternatives of transformation.

â&#x20AC;&#x2DC;66/i.SPACE/intimate SPACE

Silence. Barragan endeavors to allow the murmur of silence in the space where the building lives. He combines the poetic and the mysterious with a feeling of joy which can be easily recognized in the colors he uses. It is an ambition to express materially a sentiment by creating a space of repose, both minimalist yet sumptuous in color and texture.

â&#x20AC;&#x2DC;67/i.SPACE/intriging SPACE

The imposing memorable structure that enclosed the US pavilion seems to ďŹ&#x201A;oat above the fairgrounds like an enormous silver bubble. Sparkling in the sunlight during the day and catching a varied-color glow when darkness fell, the acrylic skin hosts a space that makes you aware of yourself, an impulsive space of reinvention.

‘68/i.SPACE/intelligent SPACE

A fully automated user-controlled environment in which walls, ceilings and floors could be changed according to the inhabitant’s desires. The constructive elements act like “conditions” , designing a space defined by motion, flexibility, self-sufficiency and independence through automation. An atmospheric experience that stands for the design envelope process of the space.

‘69/i.SPACE/imperative SPACE

“Everyone is an artist” thought Joseph Beuys, suggesting that we should not see creativity as the special realm of artists, but that everyone should apply creative thinking in their own area of specialization. The Pack exudes the chaotic and dynamic energy considered essential in order to bring change in society. Twenty-four sledges, resembling a pack of dogs, tumble from the back of a VW van, each one carrying a survival kit.

‘70/i.SPACE/indispensable SPACE

An architectural histogram of design, a furniture that creates a style and evokes a vision of poetry and complexity from the future. Starting from the cube prototype as an elementary architectural form, the concept tests the ”universal” dimension of the space, capturing the tecnomorphism of the scenographyc architecture.

â&#x20AC;&#x2DC;71/i.SPACE/intervention SPACE

An instrument created in order to be able to produce pictures as well as sound. Interactive and creative, it merges technologies and reinterprets the ways in which human interact with them. The installation produces a whole new space, half natural and half technological, in which technology becomes the bodyâ&#x20AC;&#x2122;s new membrane of existence.

‘72/i.SPACE/inﬂ ated SPACE

With the advent of the space age, inflatable environments gave the impression of infinite movement in space. We refer to enclosures that contributed to a sense of carry-and-go freedom towards the final frontier of understanding the unlimited space. The boundary between interior and exterior becomes a mass, made up of random molecules of oxygen strung together in an intricate, invisible pattern.

‘73/i.SPACE/investment SPACE

Warhol’s largest collecting project provides a unique view into the artist’s private world, as well as a broad cultural backdrop illustrating the social and artistic scene during his lifetime. The 612 cardboard boxes that form the archive create a link in time and reveal a virtual space in which the artist lived and created his work.

â&#x20AC;&#x2DC;74/i.SPACE/incidental SPACE

Formed outside the parameters of gallery presentation, the works of MattaClark combine Minimalism and Surrealism with urban architecture. Using abandoned buildings for his medium and wielding a chainsaw as his instrument, he cut into structures, creating unexpected apertures and incisions. The light from the incision made in the split house invades the interior and unites the rooms with a swath of brilliance, re-creating the disorienting experience of the unprecedented destruction.

â&#x20AC;&#x2DC;75/i.SPACE/inconsistent SPACE

An arresting work of shockingly red neon occupies the main space of a gallery, bringing to life a virtual space, almost reduced to nothing. The outline of the objects is the only evidence of their presence, and the surfaces that the lines generate blend altogether the space that outlines the object and the space that is outlined by the object.

â&#x20AC;&#x2DC;76/i.SPACE/insoluble SPACE

Deconstruction is all around us and it runs through all of the twentieth century. The asphalt sculpture in the form of a car takes into account the viewerâ&#x20AC;&#x2122;s entire sensory experience, leaving space and time as its only dimensional constants. This implies dissolution between art and life, taking nature itself as a model or point of departure, devising a new kind of art out of ordinary life.

â&#x20AC;&#x2DC;77/i.SPACE/irrigated SPACE

In the heart of SoHo neighborhood there is this exhibition space which keeps De Mariaâ&#x20AC;&#x2122;s earth sculpture, in fact an apartment, completely covered in 56 centimeters of earth. For the art connoisseurs as well as for those who just wants to sit in meditation and enjoy the proximity of the soil, the Earth Room provides a unique space that provokes anyone to experience the strategic simplicity of the environment.

‘78/i.SPACE/impertinent SPACE

The expressionistic, cathedral-like interior of Bruno’s self-built home demonstrates a contemporary tendency toward personal fantasy. Although the project does not excel in architectural quality, it has a mysterious form, something of a re-assembled old submarine or a strange-piece of an old Star Wars ﬁlm that triggers iconography and generates a customized and ﬂexible space inside an analogue large object.

â&#x20AC;&#x2DC;79/i.SPACE/imune SPACE

The project consists of twenty junked cars, a couple of station wagons, and an open convertible, buried under asphalt at various depths in a cul-de-sac in the Plaza parking lot, far from the stores but right up against Rte 10. The purpose was to take two typical ingredients of a suburban shopping center, automobiles and asphalt, and transforms them into another frame of reference, a space of blended functions as a statement for todayâ&#x20AC;&#x2122;s way of living.

â&#x20AC;&#x2DC;80/i.SPACE/interview SPACE

Without being monumental or imposing, the environment includes ďŹ gures cast from live models, not standing on a pedestal, but on real benches, in our space. The ordinary people placed in an urban setting express the loneliness and tensions of modern life, capturing the paradox of individual solitude in the midst of populous spaces of interaction.

â&#x20AC;&#x2DC;81/i.SPACE/invading SPACE

The Av Stagg and Wildlife preserve is comprised of a series of structures built from glass bottles, beer cans, corrugated metal, scrounged brick, concrete and chain-link fence, and itâ&#x20AC;&#x2122;s held together with bolted steel wire rather than nails. An intuitive construction, populated with giant tapering towers that resemble DNA strands and minimalist structures, acting like a independent space that leads to innovation and art.

â&#x20AC;&#x2DC;82/i.SPACE/imprinted SPACE

Looking at the world as a potential stage design, Reno Dakota creates from the interior of its own apartment an eclectic space, composed by layers of wallpapers with contrasting patterns, ďŹ tted into glided, blind moldings. The ďŹ&#x201A;oral patterned wallpapers vibrate against geometric patterned wallpapers, as demure, tasseled furniture provides the only rest for the eyes. In his opinion, the look of decay reminds one that humankind will inevitably lose everything to the forces of nature.

â&#x20AC;&#x2DC;83/i.SPACE/inventive SPACE

The oddness of the place, not in the spirit of the rest of the city, gives to this building its memorable appearance. A colorful collection of seemingly random architectural designs comes together to form an ingĂŠnue space, an imprint that stands for the relationship of man with nature, as in a strange beauty immortal fairytale.

‘84/i.SPACE/instilling SPACE

The IBM Pavilion was intended to be set up in parks or open spaces, and the apparent dichotomy between the technologically advanced computer systems on display and the landscape qualities of the places in which it was installed was the most interesting aspect about the deﬁnition of its design. The idea of the project was to convey the impression of ﬁnding oneself surrounded by nature, despite being in an enclosed space full of electronic gadgetry.

‘85/i.SPACE/illustrated SPACE

Drawings that get oneself into a story, communicating from the walls. It’s like jazz or pure improvisation, it takes less than a TV commercial, and still it’s surprising and breath-catching. Twisting around ideas, Dan Perjovschi uses humour and a charcoal pencil to stand up for the fact that everybody has something to say and that the past is not to be erased, but it’s a great engine that creates the energy of today.

â&#x20AC;&#x2DC;86/i.SPACE/immaterial SPACE

The interior of the house is based on a layering of narrative ideas drawn from the history of the building, artifacts found inside during renovation, and the personal biography of the owner. In order to add a metaphysical dimension to the living spaces, a series of monochrome architectural fragments are partially buried in the walls. As these objects emerge from the vertical surfaces at various levels of exposure, they create the impression of ghosted memories that have been left behind by generations of inhabitants.

‘87/i.SPACE/individual SPACE

“Gaulino” is a compound word inspired by the surnames of two architects: Antoni Gaudì and Carlo Mollino. The chair’s zoomorphic shape suggested the idea of creating a fake archaeology based on the discovery of the presumed “Gaulino” fish, and which went so far as the reconstruction of its skeleton for the show. This way, the exposition space was translated into an out-of-time space, hosting both the chair-fish and the fishbone-chair.

â&#x20AC;&#x2DC;88/i.SPACE/interactive SPACE

To some people, a building is just a place to work or live in; to others itâ&#x20AC;&#x2122;s part of a stunt track. For the free runners, the city is one huge playground, as they see their antics as a mind game, pushing the boundaries in their own minds and challenging any obstacle the city presents. More than the others, they are the ones that experience the space at its maximum value and ďŹ nd in it the potential of improvement.

‘89/i.SPACE/insistent SPACE

Developed as part of an urban renewal plan, the park relates an event space, deploying a number of abstract, programless structures, dubbed “follies”. It was intended that the bright red structures domesticate the natural garden by incorporating themselves into the scheme, offering places of discovery and unexpected encounters and juxtapositions between seemingly natural and man-made artifacts.

‘90/i.SPACE/into the stone SPACE

At ﬁrst sight, the complex is labyrinthine. Then the span and the height of the church reveal themselves, its stones and their relationships. Fragments from different periods sit uneasily side by side, united by the granite. In spite of all the works of intervention and alteration during decades, what we ﬁnd today seems to be close to perfection. Perfect as an object to be visited and contemplated. The old monastery, turned into a pousada, teaches us to see into the stones, occupying the space as little as possible, rereading it and opening it up to new readings.

â&#x20AC;&#x2DC;91/i.SPACE/isolated SPACE

The walking sculptures of Theo Jansen walk without assistance on the beaches of Holland, powered by wind, captured by gossamer wings that ďŹ&#x201A;ap and pump air into old lemonade bottles, looking as if they would be alive. The big insectoid sculptures break the walls between art and engineering, transforming in the same time all the space around them as if it would be the scene on which they play their part.

â&#x20AC;&#x2DC;92/i.SPACE/immobile SPACE

The exhibition commemorated the ďŹ fth anniversary of the magazine Ardi and was made up using giant-sized cardboard reproductions to be hung from the ceiling, while the real object were displayed on a platform at ground level. Cutout published pages decorate the perimeter walls and small cardboard models are set out in a display case, while a pair of giant scissors gives a hint of the surprise in the store.

â&#x20AC;&#x2DC;93/i.SPACE/instinctive SPACE

Making the most of a limited ground plan, the architects divided the space lengthwise using the side of an aluminum shipping container, providing a retaining wall. The hefty chunk of metal separates the private and the public areas and serves as cabinet for a variety of household objects that pull out when in use. The result is a humorous juxtaposition of spaces that innovates a multifunctional place and succeeds in providing all the best living possibilities.

‘94/i.SPACE/improved SPACE

Inside the old girls’s orphanage it’s being developed a space conceived to promote culture rather than a particular product or service. The fusion of immaterial elements drawn from the contemporary tradition and language is the key to the author’s symbolic interpretation. The intervention is constructed by working with the memory of the place, by utilizing old pictures of the orphan girls and transforming them into new images.

‘95/i.SPACE/it’s not necessary to enter SPACE

The Kolonihaven typology stands for the epitome of the enclosure, the typology of the nature “of one’s own”, of the bit of ground “of one’s own”. The complementary relationship between the human being and the nature is expressed by snipping the space, dividing the claimed interior by four sheets of glass. A tiny territory both times opened onto the environment as onto the cherry tree captured inside, as a “joker” into the beech wood. An “A” ladder is the only way to face the cherry tree, to become yourself the cherry tree, a treasure in an haptic installation. A static entity that provides an almost virtual space in order to create and enhance relationships.

‘96/i.SPACE/installation SPACE

A performance commissioned by Mercedes Benz for their “Motion Tour” of a new model of car. A huge cube in which the improvised performance “Symbiosis ” is enacted travels to the squares and streets of Europe’s biggest cities, adapting itself and always creating a new urban scene for the performers as for the city itself.

â&#x20AC;&#x2DC;97/i.SPACE/innovative SPACE

A huge, undulating canopy covers an existing, former rundown neo-classical market in a large square within sight of the gothic cathedral. A magical balance between local producers and consumers, contemporary architecture and tourism that creates an interactive space, overshadowed by the ďŹ&#x201A;uidity and playfulness of the covering.

‘98/i.SPACE/irreproducible SPACE

The project was meant to provide lighting without imposing it in the interior area, but at the same time transmitting a fresh and joyful image akin to the designs presented. The space is ﬁlled with an entire atmosphere, all the structure ﬂoating above the catwalk turning the space into a non-reproducible realm of art.

â&#x20AC;&#x2DC;99/i.SPACE/impolite SPACE

The Living Unit pavilion presents a minimum living space equipped with minimal furniture: a cardboard folding bed, a work table and a system of different colored wardrobe aluminum units. The system reďŹ&#x201A;ects the philosophy of compact, light, mobile and transparent space that plays a role as an independent, free and timeless main protagonist of the city.

‘OWN_i/i.SPACE/impossible SPACE

Rethinking the meaning of the SPACE as a virtual space, it is easy to identify the structure of a particular language transmitted throughout image. Symbolic thinking gets to interpret and redeﬁne the identity of the space within its own understanding capacity. The painted illustration reﬂects the iSpace of everyone’s own, an invisible world enclosed in a bi-spectral universe, ready to receive new information and new emotions.

REFERENCES

‘01-’04 Palzzo Castiglioni, Milan (Italy) Giuseppe Sommaruga http://artnouveau.pagesperso-orange. fr/en/villes/milano.htm ‘02-’00 vvv, Moscow (Russia) Fyodor Schechtel http://www.flickr.com/photos/marniepix/2846913305/ ‘03 (1986-) Beurs van Berlage, Amsterdam (Netherlands) Hendrik Petrus Berlage http://en.wikipedia.org/wiki/Beurs_van_ Berlage ‘04-’07 Stained glass at Kirche am Steinhof, Wien, (Austria) Otto Wagner h t t p : / / w w w. v i e n n a f o r b e g i n n e r s . com/2009/04/postcards-from-abroadroman-spring_02.html

‘07 Vertigo Léon Spilliaert Hostyn, N., & Spilliaert, L. (2006). Léon Spilliaert: Leven en werk : doorheen de verzameling van het Museum voor Schone Kunsten Oostende, p.87-88 ‘08 Fantasmagorie (France) Emile Cohl http://www.youtube.com/watch?v=a EAObel8yIE ‘09 (‘06) Payne Whitney House McKim, Mead & White A Century of Interior Design, Stanley Abercrombie, Rizzoli, New York, 1997, p.38 ‘10 (’05-) Casa Milà, Barcelona (Spain) Antoni Gaudì Sennott, Stephen, Encyclopedia of XXth century architecture, Taylor & Francis

‘05-’06 Garage rue de Ponthieu, Paris (France) Auguste Perret ht tp:// stewzanneparis.blog spot. com/2010_07_01_archive.html

‘11 Sculpture in the lobby of Palazzo BerriMeregalli, Milan (Italy) Alfonso Widt http://www.info2015expo.it/index.php?/

‘06 Villa Karma, Montreux (Switzerland) Adolf Loos A Century of Interior Design, Stanley Abercrombie, Rizzoli, New York, 1997, p.32

‘12 Ice Mask (Australia) Frank Hurley h t t p : / / w w w . f l i c k r. c o m / p h o tos/29454428@N08/2963668712

‘13 Grand Central Station, New York (USA) Reed&Stem, Warren&Wetmore A Century of Interior Design, Stanley Abercrombie, Rizzoli, New York, 1997, p.41

Dennis Sharp. The Illustrated Encyclopedia of Architects and Architecture. New York: Quatro Publishing, 1991, p.144

‘14 Melancholy and Mystery of a Street Giorgio de Chirico http://palad1n.com/archives/ date/2007/02/‘

‘21 Airship Hangers, Orly (France) Eugène Freyssinet Fausto Giovannardi “Con Eugène Freyssinet oltre i limiti del cemento armato”, Fausto Giovannardi, Borgo San Lorenzo, 2007

‘15-’23 Imperial Hotel, Tokyo (Japan) Frank Lloyd Wright Bryce Walker (1982). Earthquake. Planet Earth. Time Life Books, p.154

‘22 Kings Road House Rudolf Schindler Mitchell, Sean: “The best houses of all time in L.A.”, Los Angeles Times, 2008

‘16 Villa at Huis ter Heide, Utrecht (Netherlands) Robert van’t Hoff Peter Gössel and Gabrile Leuthäuser. Architecture in the Twentieth Century. Benedikt Taschen Verlag, 1991

‘23 Transverse line Wassily Kandinsky http://www.abstract-art.com/abstraction/l2_grnfthrs_ﬂdr/g029b_kandinsky_ tr_ln.html

‘17 Metropolis (Germany) George Grosz http://www.usc.edu/schools/annenberg/ asc/projects/comm544/library/images/319.html ‘18-’22 D. L. James House Greene and Greene Roger H. Clark and Michael Pause. Precedents in Architecture. New York: Van Nostrand Reinhold, 1985, p 201 ‘19-’37 Merzbau, Hannover (Germany) Kurt Schwitters Courtenay Smith, Annette Ferrara: Xtreme Interiors, Prestel, 2003, p.14 ‘20 Tatlin, Moscow (Russia) Vladimir Yevgrafovich Tatlin

‘24 ”Zig Zag” Chair Gerrit Rietveld Gerrit Rietveld Compl. Works, M. Kuper and I. Van Zijl, 1996, p.54 ‘25 (‘24-) Zeiss Planetarium, Jena (Germany) Walther Bauersfeld Chartrand, Mark. “A Fifty Year Anniversary of a Two Thousand Year Dream”. reprinted from the Planetarian, Sept. 1973 ‘26 Door, Paris (France) Marcel Duchamp Joseph Masheck: Marcel Duchamp in perspective, p.8 ‘27 Completed Paul Klee http://www.archipelagobooks.org/ bk.php?id=14

‘28 (’24-) Second Goetheanum, Dornach (Switzerland) Rudolf Steiner h t t p : // f a r m4 . s t a t i c . f l i c kr. c o m /3 170/3035305886_45e64bb0c7.jpg ‘29 Nestlé, Paris (France) Le Corbusier Stefano Colli, Raffaela Perrone: “Espacio-identidad-empresa“, Editorial Gustavo Gili, 2003, p.77 ‘30 (‘29-) Salginatobel Bridge, Schierz (Switzerland) Robert Maillart Sir Banister Fletcher. A History of Architecture. London: The Butterworth Group, 1987, p.1266-1267 ‘31 Aluminaire, Syosset, Long Island (USA) Albert Frey, A.Lawrence Kocher http://en.wikiarquitectura.com/index. php/Aluminaire_House ‘32 Exhibition of the Decade, Rome (Italy) Adalberto Libera History of Modern Architecture course, prof. Sorin Vasilescu, UAUIM, ‘09-’10 ‘33 (‘30-) Kirche am Hohenzollernplatz, BerlinWilmersdorf (Germany) Ossip Klarwein, Fritz Höger Sibylle Badstübner-Gröger, Michael Bollé, Ralph Paschke, Handbuch der Deutschen Kunstdenkmäler: Berlin and Munich: Deutscher Kunstverlag, Berlin, p.496 ‘34-’39 Fallingwater House, Mill Run, Pennsylvania (USA) Frank Lloyd Wright

http://www.techviva.com/frank-lloydwright-fallingwater-lego-set-27016.html ‘35 Hand with reﬂecting sphere M.C. Escher http://www.meridian.net.au/Art/Artists/ MCEscher/Gallery/ ‘36-’38 Ufﬁci Montecatini, Milan (Italy) Gio Ponti Ponti, Gio, “In Praise of Architecture”, NY: F.W. Dodge Corporation, 1960. Library of Congress, p.138 ‘37 Lichtdom, Nurenberg (Germany) Albert Speer http://www.kubiss.de/kulturreferat/reichsparteitagsgelaende/englisch/zeppelinfeld.htm ‘38 The Kiss Gate, Tg. Jiu (Romania) Constantin Brancusi http://cosminfoto.blogspot.com/2009 /02/happy-birthday-constantin-brancusi. html ‘39 Walter Gropius House, Lincoln, Massachusetts (USA) Walter Gropius http://www.robertdamora.com/ ‘40 (‘35-) Woodland Crematorium, Stockholm (Sweden) Erik Gunnar Asplund http://www.greatbuildings.com/buildings/ Woodland_Crematorium.html ‘41-’43 Frey House, Palm Springs, California, (USA) Albert Frey http://en.wikiarquitectura.com/index.php/ Frey_House

‘42 Nighthawks Edward Hopper http://www.artic.edu/aic/collections/exhibitions/hopper/index

‘50-’56 General Motors Technical Center, Warren, Michigan (USA) Eero Saarinen http://www.robertdamora.com/

‘43 Saint Francis Church, Pampulha (Brazil) Oscar Niemeyer h t t p : / / s u b t l e d e s i g n e r. b l o g s p o t . com/2010/ 10/pampulha.html

‘51 (‘46-) Farnsworth House, Plano, Illinois (USA) Mies van der Rohe http://www.farnsworthhouse.org/

‘44-’46 Loewy House, Palm Springs, California (USA) Albert Frey http://www.raymondloewy.org/gallery/ house_ext_ps.html ‘45 (‘39-) World War II The Allies and The Axis http://en.wikipedia.org/wiki/World_War_ II ‘46-’52 Unite d’Habitation, Marseilles (France) Le Corbusier Personal Archive - Cristina Neagu, 2010 ‘47 Rose Summer House, Lake Placid, New York (USA) Robert Allen Jacobs http://www.robertdamora.com/ ‘48 Atomicus Salvador Dali and Philippe Halsman http://formfunctionexperience.blogspot. com/ ‘49 Glass House, New Canaan, Connecticut (USA) Philip Johnson http://www.flickr.com/photos/mjkmjk/2150137709/

‘52 Walker Guest House, Sanibel Island, Florida (USA) Paul Rudolph “Classic Home 048”, by ArchitectureWeek, ArchitectureWeek No.139 ‘53 Golconda, The Menil Collection, Houston, Texas (USA) Rene Magritte http://en.wikipedia.org, photo by Shimon D. Yanowitz ‘54-present IKEA (Sweden) Ingvar Feodor Kamprad Courtenay Smith, Annette Ferrara: Xtreme Interiors, Prestel, 2003, p.26 ‘55-’70 Museo Castelvecchio, Verona (Italy) Carlo Scarpa L’Architecture de XXe siecle, Peter Gossel, Gabriele Leuthauser, Benedikt Taschen, p.392 ‘56 Bugler’s nephews Liviu ciulei “Teatralizarea picturii de teatru”, ed. Dacia, 1963, p.130-132 ‘57 Superleggera, Milan (Italy) Gio Ponti Graziella Roccella: “Gio Ponti. Maestro della leggerezza” Taschen, 2009

‘58-’62 Dulles Airport, Chantilly, Virginia (USA) Eero Saarinen Eero Saarinen. Eero Saarinen On His Work. New Haven, CT: Yale University Press, 1968, p.108 ‘59-’66 Salk Institute, La Jolla, California (USA) Louis I. Kahn George Everard Kidder Smith. Looking at Architecture. New York: Harry N. Abrams, Abrams Image Publishers, 1990. p.162-163 ‘60 Triple Self Portrait Norman Rockwell http://www.prenhall.com/reid/pages/ ch03_low.pdf ‘61 Tall Woman III, Walking Man II and Monumental Head Alberto Giacometti http://opinionator.blogs.nytimes. com/2009/06/11/blind-spot/ ‘62 Bordando el Mantro Terrestre Remedios Varo Janet A. Kaplan, Unexpected Journeys: The Art and Life of Remedios Varo (New York: Abbeville, 1988), p.164 ‘63 Linear construction n.4 Naum Gabo http://gluemarket.blogspot. com/2009/01/naum-gabo-pevsner. html ‘64 Walking City Archigram http://trilodome.blogspot. com/2010/07/archigrams-walkingcity.html

‘65 Environment-bubble Reyner Banham, Francois Dallegret http://www.ﬂickr.com/photos/ 21525853@ N00/2217265543/ ‘66-’68 Cuadra San Cristóbal, Los Clubes, Mexico City, Mexico (USA) Luis Barragan http://www.thequietman.org/?p=79 ‘67 United States Pavilion at Expo ‘67 Buckminster Fuller and Shoji Sadao h tt p: // c hi c a go mon tre a l. wo rd pre s s. com/2008/02/18/vvvvvv/ ‘68 House 1990 Warren Chalk, Peter Cook, Dennis Crompton, Ron Herron Courtenay Smith, Annette Ferrara: Xtreme Interiors, Prestel, 2003, p.16 ‘69 The Pack, London (UK) Joseph Beuys http://the-tallyho.blogspot.com/2010/08/ back-from-void.html ‘70 Misura Furniture Showroom, Chianti (Italy) Superstudio Gianni Pettena: “Radical Design“, Maschietto Editore, 2004, p.90 ‘71 TV Cello with Charlotte Moorman, New York (USA) Nam June Paik http://www.paikstudios.com/ ‘72 Cylindrical Inﬂatable House Quasar Courtenay Smith, Annette Ferrara: Xtreme Interiors, Prestel, 2003, p.16

‘73-’78 Time Capsules, Pittsburgh, Pennsylvania (USA) Andy Warhol http://edu.warhol.org/ulp_ctm_cols2.html

‘81 Av Stagg Art, Texas (USA) Charles Stagg Courtenay Smith, Annette Ferrara: Xtreme Interiors, Prestel, 2003, p.46

‘74 Splitting, New Jersey (USA) Gordon Matta-Clark htt p: //www.met mu se um.org/toa h/ works-of-art/1992.5067

‘82 Apartment, New York (USA) Reno Dakota Courtenay Smith, Annette Ferrara: Xtreme Interiors, Prestel, 2003, p.116

‘75 Neon table and chair Joe Rees http://www.artbu si ness. com/1open/112009.html

‘83-’86 Hundertwasserhaus, Wien (Austria) Friedensreich Hundertwasser http://folliesofeurope.com/album/ html.php

‘76 VOAEX, Malpartida de Cáceres (Spain) Wolf Vostell http://www.absoluteastronomy.com/ topics/Wolf_Vostell

‘84 Exhibit, different european cities Renzo Piano Stefano Colli, Raffaela Perrone: “Espacio-identidad-empresa“, Editorial Gustavo Gili, p.32

‘77 The New York Earth Room Walter De Maria htt p:// co nt empor aryart newy ork. blogspot.com/2008/02/walter-de-marianew-york-earth-room.html

‘85-present Dan Perjovschi (Romania) Dan Perjovschi, contemporary artist photo by its_tehmina; http://www. ﬂickr.com

‘78-’99 Steel House, Lubbock, Texas (USA) Robert Bruno Courtenay Smith, Annette Ferrara: Xtreme Interiors, Prestel, 2003, p.14

‘86 Laurie Mallet House, New York (USA) SITE http://www.siteenvirodesign.com/ proj.mallet.php

‘79 Ghost Parking Lot SITE http://spacelab.myblog.it/archive/2009/09/03/the-ghost-of-theghost-parking-lot.html

‘87 Gaulino, Barcelona (Spain) Uli Marchsteiner Stefano Colli, Raffaela Perrone: “Espacio-identidad-empresa“, Editorial Gustavo Gili, p.38

‘80 Three ﬁgures and four benches George Segal http://www.sculpture.net/gallery/showphoto.php/photo/547/size/big

‘88-present Parkour (France) invented by David Belle photo by Alison Sampson; http://spaceintext.wordpress.com

‘89 La Villette, Paris (France) Bernard Tschumi Bernard Tschumi and Yokio Futagawa Bernard Tschumi “Parc de la Villette”, A.D.A. Edita, 1997, p.155 ‘90-’95 Flor da Rosa, Crato (Portugal) Joao Luis Carrilho da Graca Candidaturas AOS prémios UIA – Premio Auguste Perret, 2005 [ed. GG], 1995 ‘91-present Kinetic Sculpture (Netherlands) Theo Jansen www.strandbeest.com/ ‘92 Ardi magazine (Spain) Juli Capella, Quim Larrea Stefano Colli, Raffaela Perrone: “Espacio-identidad-empresa“, Editorial Gustavo Gili, p.56 ‘93 Miller/Jones Studio, New York (USA) LOT/EK Courtenay Smith, Annette Ferrara: Xtreme Interiors, Prestel, 2003, p.36 ‘94 Luci Bianchi, Milan (Italy) Silvio Wolf Stefano Colli, Raffaela Perrone: “Espacio-identidad-empresa“, Editorial Gustavo Gili, p.60 ‘95 Kolonihavehus installation, Copenhagen (Denmark) Dominique Perrault Dominique Perrault – writings; Enric Miralles – “The nap” ‘96 Symbiosis, various European cities (Europe)

Fura dels Baus Stefano Colli, Raffaela Perrone: “Espacioidentidad-empresa“, Editorial Gustavo Gili, p.76 ‘97-2001 Santa Caterina Market, Bracelona (Spain) Enric Miralles & Benedetta Tagliabue h t t p : / / w w w . f l i c k r. c o m / p h o t o s / jfreund1/5202205432/lightbox/ ‘98 Issey Miyake, Paris (France) Ingo Maurer Stefano Colli, Raffaela Perrone: “Espacioidentidad-empresa“, Editorial Gustavo Gili, p.94 ‘99 Living Unit, Milan (Italy) / Zurich (Switzerland) / New York (USA) / Miami (USA) /London (UK) / Cologne (Germany) Tara Stefano Colli, Raffaela Perrone: “Espacioidentidad-empresa“, Editorial Gustavo Gili, p.110 ‘OWN_i i.SPACE, Milan (Italy) Olivia Giselle Sofronie Personal archive

INTERIOR WOR(L)DS. This work is part of a collection of books realized by the students of the course of “Interiors Architecture”‚ of class 2010 - 2011 and edited by Professor Gennaro Postiglione; it takes its origins from the participation in the Second Interiors Forum World 4 - 5 October 2010, hosted by Politecnico di Milano. Every student selected a paper among the words presented at the IFW and chose 99 projects, represented by just one image, covering 99 years, from 1901 to 2000; the 100th image had to be a personal interpretation of the word chosen.

i.SPACES are deﬁned by their shape, by the materials which enfold them and by the objects that are placed within or decorate their exterior. Introducing the human being into the created background gives life to the space, as the user becomes protagonist of the setting, and the enclosure starts to provide shelter for the actor. I.SPACES is a collection of such sceneries in which every example acquires different “i” connotations, deﬁning itself and getting to be understood in an interactive and personal approach.