IN H A BIT IN G
Inhabiting by Mattia Alfieri
Didactic exercise Fall semester 2010
Interior worlds: “Inhabiting” Main editor Gennaro Postiglione Course of Inerior Architecture Faculty of Architettura e Società Politecnico di Milano www.lablog.org.uk Editor Mattia Alfieri
only for pedagocic purpose not for commercial use
INDEX 00_Inhabiting
by Lucilla Zanolari Bottelli
01_Drawing Room 02_ 03_Villa Karma 04_Tea Room 05_Stoclet Palace 06_ 07_ 08_Living Room 09_Robie House 10_ 11_ 12_ 13_Midway Gardens 14_ 15_
16_ 17_ 18_ 19_Antellani House 20_ 21_ 22_ 23_ 24_E 1027 25_ 26_Frankfurt Kitchen 27_Rue de Lota Apartment 28_Maison de Verre 29_Villa Muller 30_ M. C. de Beistegui Apartment 31_Villa Tugendhat 32_Villa Campiglio 33_Villa Borletti 34_Journalists Village House
35_Kauffman House 36_R. Sarfatti Memorial 37_Munkkiniemi House 38_Villa Mairea 39_Modernist Fazenda 40_ 41_ 42_ 43_Ballroom House 44_Minola House 45_M. Mahesh Yogi’s Ashram 46_ 47_Barragan House 48_Artigas House 49_Cabanon 50_House of Glass 51_Miss M. Sarabhai Villa 52_
53_Ideal House
72_Ideal City
54_C. Marcenaro House 55_Romanelli House
73_Total Furnishing Unit
56_Future House 57_Colours and Shapes House 58_Sky House 59_V. P. Cirell House
74_Serpentone 75_Metaphor of a Door 76_House in Kamiwada 77_Malagueira
60_Leme’s House
78_Pernigotti Home 79_
61_
80_
62_Rotalinti House
81_
63_Electromedical Set
82_
64_
83_House in Algarve
65_Inhabit House
84_Contact
66_Under my Chair
85_
67_Villa La Califfa
86_
68_Water Table
87_Alcaneva House
69_
88_
70_Nakagin Capsule Tower
89_Neuendorf Villa
71_Abitacolo
90_Crate House
91_Grey Clam 92_Villa in the Forest 93_House in Paros 94_Vinyl Milford 95_Living Unit 96_Sea of Japan 97_House in Bordeaux 98_Charcoal-Burner’s Hut 99_Tea House 00_House in a plume grove
Inhabiting by Lucilla Zanolari Bottelli
Abstract There is one characteristic that enables a (private or public) room to achieve the definition of interior: high quality of life. The character and quality of an environment are described as a subjective experience (Bruno Munari). By feeling a space in a particular manner, we give it a meaning through gestures and actions. Gestures and meaning transform a space into a place. The place is built by actions (A&P Smithson), if there is a gesture there is also an object related to it. We may state that, whenever there is a systematic relationship between objects and actions, objects determine places. This system of furniture (Ettore Sottsass) culturally associates the things we use with the interior context they are placed in. In a continuous transformation, life-
styles and models are the manifestation of the cultural endeavors to find a home for new gestures (Le Corbusier). Everyday life makes an interior a place to be (Martin Heidegger), where tradition is never betrayed but only translated (Adolf Loos). What are then domesticity, or hospitality, or home? Martin Heidegger’s paradigm of domesticity is the window. Does a window call a room? Gio Ponti draws interiors by sight running through them, playing with the insideand outside of places. For some architects the quality of life is not only a window, but anything that provides pleasure and comfort, shelter and privacy (Ludwig Mies van der Rohe) to a place. As an instrument serving life which flourishes in it, Architecture supports Inhabiting.
Paper The essay aims to describe the word inhabiting suggesting a possible debate on its future definitions. This word refers to an abstract concept, something we cannot touch or measure, but can only feel; something that communicates a certain space. The dictionary provides a double direction investigation and drives toward a possible definition of inhabiting. As a compound idiomatic structure this word has two interconnected meanings. The noun [in + inhabiting] comes from [in + habit], where the prefix “in” indicates a position into space and expresses a place characterized by being inside and not outside. Habit instead refers to a habitual behaviour; something that is hard to stop doing because it is intrinsically in the heritage of the performer.
From the word habit comes also habitable – meaning “suitable for living in”; the word habitat – “a natural environment of an animal or a plant; home”; and finally habitation signifying inhabiting or being inhabited, as well as a place to live in, a house or home. The verb inhabit means “live in; occupy”, which drives us to Inhabitable – something “that can be lived in”; and Inhabitant – a person or an animal living in a place.” In brief, the roots of inhabiting are related to habitat, behaviour, occupancy, inside, home and house, place and space. The sense of this wor(l)d is living in a place. Living in a place is quite different from living in a space. Marc Augé defined a place as a space in which an individual or a group of people recognize themselves. A place is something more than the
abstract geometrical space. Each place is characterized by an identity generated by the gestures of the inhabitants. Therefore it is subjected to transformation, and it refers to the inhabitant, either group or individual. This special relationship between occupant and place is also called habitat, the natural or artificial environment in which a person, an animal or a plant lives in. Richard Neutra wrote “liveable space and liveable time are not at all the same for all creatures.” Indeed we may not be able to understand or sense a foreign environment that we don’t recognize as our own. He clearly identifies a home as a built object, may it be a nest or a house that fits into the contingent world of the inhabitant and reflects his needs as well as his sentiments: home “must anchor us on a spot of this earth.” This concept, similar to the Augé’s lieux, has an explicit analogy with Martin Heidegger’s theory on Dasein. In 1951 he stated that being in this world means living in it, and that inhabiting should take care of this existential space. Das Gewohnte is then the familiar place, the habitual, and it is referred to the everyday life of the individual as part of the collective. In brief, in the living place we recognize our soul, and it becomes a mooring place, a very important spot for our existence. Inhabiting is then a matter of the soul. Place and space are not the same, as well as home and house. Heidegger drew a distinction betwe-
en housing, a technical problem, and dwellings, the condition of “man’s being in the world.” Dwelling reveals the definition of “anthropological” existential space in which to experience the relations within the world. This live in space is described by Christian Norberg-Schulz as composed by many spaces: a pragmatic space in which people meet their biological needs; a perceptual space; an abstract space of pure logical relations; a cultural space in which people find their collective activities as a community; an expressive space related to the art as interpretation of changes. In this spatial composition man projects his image of the world into his environment in order to feel at home. And when the world becomes an inside, man is capable of dwelling, which therefore implies something more than a shelter. Inhabiting integrates both concepts of house – the shelter, the dimension of privacy, comfort, pleasure, and security, and the answer to our biological needs; and home – the cradle of inhabitant’s existence with his thoughts, memories and dreams, man’s primary world. Heidegger strictly related dwelling to building as something that remains, that stays in the place, as the act of taking roots in the soil. But dwelling is also the place where exchanges occur, where common values are accepted, and where we can withdraw from the wider world outside. The ambiguity between the dwelling object and the dwelling action also
concerns inhabiting. Each meaning outlines a distinct settlement scale such as the collective area of urban places, the public area of institutional places, or the private area of home. The nature of dwelling is indeed the belonging and the participation; either we deal with the public or with the private spheres of inhabiting. In this definition of dwelling, inhabiting bears stability instead of transformation. How does this statement match today’s situation of economic changes and social mutations? Different levels of transformations affect the domestic character of inhabiting. Ettore Sottsass defined domestic as the temple of inhabiting, where we can preserve and protect the ancestral family feeling. On a conceptual point of view, domesticity, as the dogma of home, determines a threshold between the inside and the outside. At the same time a domestic place also responds to our social and personal needs. Nowadays society is based on information and immediate communication where home is no longer a physical place but has a virtual connotation. Together with the main service areas of kitchen and bathroom, today’s houses provide an electronic platform of infinite possibilities. How is domesticity changing? Through time, building has adopted new materials and new techniques. Habits have changed overwhelmed by politics, philosophy, style, and economy. In order to plan a behaviour, interior design aims to control habits occurring in a living space.
Manuel Gausa focused on the transformation of the family unit and the collapse of the residential stereotype one room for each function. As a result of social instability and loss of certainties, the contraction of space shows new tendencies of the interior spatial distribution, both on the small and the large scale. The city produces a relocation of services that once where domestic, while now they are spread on a urban level based on the self-service offer. The increase of conscious acceptance of a residential mobility increases the demand for rental houses with an easy turn over of the occupants. This phenomenon requires “the greatest possible degree of flexibility, where the technical nuclei allow to be adapted to the inhabited space.” Houses become more and more technological, and services, such as kitchens and bathrooms, stop being marginal areas and loose their initial privacy aspect opening to other rooms. Moreover the www has transformed the image of home, no longer limited only by walls. With a PC and an internet connection the inhabitant lives on-line. On the web it is possible to work, meet people, find new friends, invite them at home. People of the new millennium also inhabit a virtual place. This digital environment needs a screen and a touch mode or a voice decoder as interfaces between the real and the virtual dimensions. Interiors are heading towards the sur-
space, where digital surface/space becomes a whole, where walls may convert into full screens almost free of furniture. While mobility, technology and internet influence future interiors, what role do objects acquire? Many functions and actions are put into single unit devices to fit small interiors. Homes contain personal items of the inhabitant and objects of common use, some decorate the ambient, others furnish the place. In the temporary renting tendency furniture should come with the house, instead of following us. Together with reduced space and equipped interiors, will architecture revisit the habitable objects of the 60’s and 70’s? Joe Colombo, Bruno Munari, Alberto Rosselli integrated equipped blocks and adapted them to different situations or else where created units completely out of context. Even earlier, Le Corbusier, proposing the casier-standard, stated “the notion of furniture has disappeared. It has been substituted by a new definition: domestic equipment.” Today’s market proposes single design products for a status symbol to pursue, while the reality is a need for compactness and flexibility, where traditional furniture, such as the bed, table and closet, share the ambient with other objects of everyday use such as the PC, mobile phones, sound supplies, and hardware. Inhabiting objects are part of the place and influence the gestures of the inhabitant.Looking for a given de-
finition of inhabiting opens a variety of interlinked questions. Inhabiting deals with life and place. It is influenced by changes of habits. It is a necessity of the one as well of the many. But why is it an interior word? The phenomenon of inhabiting generates a world of relations in space; relations building an invisible network of tensions and possibilities, between people that live-in, but also between objects that furnish the place. The distances between these impalpable threads determine the context of the place, the interior. Without these relations, inhabiting does not exist. Carlo De Carli called it “spazio primario”, identifying the unity and uniqueness of this system of relations as the material of architecture. The spazio primario does not have a particular shape, neither dimension nor material, but it is pervaded by life as it is originated from any relationship within. Concerning the physical space, its limits and furniture, architecture by De Carli is found by the harmonic construction of this specific space that prefigures inhabiting and the gestures occurring in it. Architects must possess and exercise the “infeeling” of such place, primario, futuristic and contingent at the same time. Towards an unknown and unstable future of this world focused on globalization, inhabiting increases the character of the heritage and local tradition, bringin the project to interiorize inevitable transformations. As the instrument serving life that has place in it, architecture supports inhabiting.
ATLAS
‘01 / inhabiting
A drawing room by C. R. Mackintosh full of sense of domesticity, also inspired by objects wich remaind me more to a living room than others
‘02 / inhabiting
‘03 / inhabiting
In this house by Adolf Loos we can see how always places to rest where more important than other spaces.
‘04 / inhabiting
This is a tea room designed by C. R. Mackintosh. During the 20th century, styles had changed but place to inhabit always had something common: fireplace, little corners to rest...
‘05 / inhabiting
Is possible to take relax and get privacy also in public spaces. In these cases objects an fornitures have an important role.
‘06 / inhabiting
‘07 / inhabiting
‘08 / inhabiting
Objects always played an essential role in the way of living a space, especially when in the eraly 10’s house was still thought with a room for each function
‘09 / inhabiting
Decorations, fornitures and space become the same thing in this place by F. L. Wright
‘10 / inhabiting
‘11 / inhabiting
‘12/ inhabiting
‘13 / inhabiting
‘14 / inhabiting
‘15 / inhabiting
‘16 / inhabiting
‘17 / inhabiting
‘18 / inhabiting
‘19 / inhabiting
Inhabiting is remarked by the objects wich people collect inside home. Objects help us to recognize ourself in the places where we live.
‘20 / inhabiting
‘21 / inhabiting
‘22 / inhabiting
‘23 / inhabiting
‘24 / inhabiting
This corner of “E1027 house” is simply painted with ancestral drawings wich fills the space and create a side scene for human actions.
‘25 / inhabiting
‘26 / inhabiting
Inhabiting had changed during the 20th, also because of important projects wich improved the design and the features of the spaces. The Frankfurt Kitchen is one of the most important studies on the way of living in Germany in the middle of 20’s.
‘27 / inhabiting
Living space and time are not the same for all the people as Neutra teach us, but all of us need places to take care of us and relax, regardless from the social status and the way of living.
‘28 / inhabiting
This house by Pierre Chareau is an extrordinary attempt of delate the margin between interior and exterior. The living is full of light wich come from the outside, but is a place where still you can find intimacy.
‘29 / inhabiting
Corners are important to let us feel protect in spaces where we are. Some steps can help to feel that is a different place more private than the rest of the house.
‘30 / inhabiting
Sense of inhabiting can also be find in open spaces. This terrace has a guard that is higher than the normal, so people there can feel to be outside but in intimacy.
‘31 / inhabiting
A curved wall can be use to create a different kind of space also without building a totally encase place.
‘32 / inhabiting
Sit around the table always inspired sense of inhabiting. Feel at home as a place to stay and be in intimacy.
‘33 / inhabiting
‘34 / inhabiting
In the 30’s was developed the practice to live terraces as places in continuity with interior places. In this house by Figini and Pollini there is an open air gym.
‘35 / inhabiting
Inhabiting means enclose a space on the world and do it ours, built it in continuity with nature and take care of it.
‘36 / inhabiting
In western tradition when people died go on to occupate space leaving a sign of his presence on the world in the past.
‘37 / inhabiting
Corners characterized by a more human scale than the rest of the space create places to stay and where sense of inhabiting is powerfull.
‘38 / inhabiting
A pillar in the middle of the space act like a point of reference around wich dwell and relax.
‘39 / inhabiting
An outdoor place in continuity with nature around can be an amazing place to talk and to feel the ambient and air passing through. Is a shelter made by a ceiling wich float above air and creating horizontal pressure wich invite you to look around.
‘40 / inhabiting
‘41 / inhabiting
‘42 / inhabiting
‘43 / inhabiting
Open spaces near home help us to dwell in continuity with nature and feel guarded.
‘44 / inhabiting
In this house by Carlo Mollino there’s a living with modern tipical fornitures but always a fireplace as in the early 10’s.
‘45 / inhabiting
This vernacular architecture is a place, in India, where also a lot of famous artists went in the 60’s to create and inspire themselves in constantly connection with nature and univers. These shelters isolate them from other people.
‘46 / inhabiting
‘47 / inhabiting
In this space inhabiting is inspired by the connection with nature. A depthless window try to delete the margin between inside and outside.
‘48 / inhabiting
In this house by J. V. Artigas lot of windows with thin frame make us feel sometimes outside and sometimes inside. In these case sense of inhabiting is not found in little rounded corners but in a constant relation with nature.
‘49 / inhabiting
This is one of the most important example of what inhabiting means. A very little place where all is built thinking the necessity of dwell. An enclose space wich mantain a relation with the outside by small window wich are like pictures of nature. Gaston Bachelord said that our home is our corner of the world.
‘50 / inhabiting
‘51 / inhabiting
An open space with few objects and made by local material focused our attention on a sensation of smoothness and peace. Big spaces allow the inhabitant free to create corners around.
‘52 / inhabiting
‘53 / inhabiting
This is an example of haw was changing and evolving the way of living in 50’s
‘54 / inhabiting
In this house for Caterina Marcenaro we can see haw an important role is played by the fireplace wich become a point around wich inhabit
‘55 / inhabiting
In this house, did in collaboration by Scarpa, Morassutti and Masieri, the outside spaces become places to live, fulls of corners where to stay and find privacy and intimacy
‘56 / inhabiting
This is the patio of the Future House, projected by the Smithson, who talked about the importance of patio. They mean patio not only as a physical space but as a place in strectly relation with nature. A central point of the house.
‘57 / inhabiting
This installation is by A. Castiglioni who tought about this interpratation on dwelling in the 50’s
‘58 / inhabiting
This house by Kiyonori Kikutake is an example of how eastern country didn’t brake with tradition but they used history and memory as a point to start.
‘59 / inhabiting
Again an interpretation of a patio, by Lina Bo Bardi. I think about this place as full of life, where inhabitant and nature find a point of unit.
‘60 / inhabiting
A place can be characterized by the objects of who live the space, and by this way habitants can recognize himself.
‘61 / inhabiting
‘62 / inhabiting
Shadows can create corners where take care of yourself relaxing. Inhabiting means take care of us and of the place where we live.
‘63 / inhabiting
Technological innovations mutate the way of inhabiting during the 20th century. Especially in the 60’s appliances improove the lifestyle of housewifes.
‘64 / inhabiting
‘65 / inhabiting
This an example of tipical dwell situations of 60’s, made by Achille and Pier Giacomo Castiglioni.
‘66 / inhabiting
Bruce Naumann faced up to “inhabiting” making a mold of the space under an hypothetical chair. A void that become a fulness.
‘67 / inhabiting
A patio before the entrace of a house can be like a filter between inside and outside. It prepares people who are entering home to be in a more domestic dimension.
‘68 / inhabiting
In the orient world, people dwell in harmony with nature and this is reflect in the fornitures. Like this table made in stone with a thin layer of water wich design the space above.
‘69 / inhabiting
‘70 / inhabiting
Tokyo is one of the most populated city in the world and since many years ago eastern architects tried to answerd to the necessity of living in minimum spaces. This research was different from the western one. It was not only on minimum spaces but about the realization of little places to restored the aim and the body.
‘71 / inhabiting
Bruno Munari ivestigates the theme of inhabiting by lot of projects like this one called abitacolo. It’s a simple modular structure, made in steel rod, wich is possible to assemble in different ways and creat different places for different ways of living.
‘72 / inhabiting
Superstudio research in a more abstract way than other architects on the theme of inhabiting, wich gives input to other architects and artists in future. This is a collage of an ideal place to live.
‘73 / inhabiting
This is an example of how tecnical innovation improove the research on the theme of inhabiting. It’s a prototype for a single residence, called total furnishing unit.
‘74 / inhabiting
“Serpentone” is a single element wich create a big place to sit in fellwship with other people. A big sofa wich can be modeled as the owner prefer.
‘75 / inhabiting
People don’t need always of space enclosed by big walls to feel at home. People only look for places where they can recognize themselves.
‘76 / inhabiting
Sometimes is a common opinion that more objects there are in a space more this can be hospitable, but in some occasions places are more powerfull if situations don’t scramble each other.
‘77 / inhabiting
This is a projects of social housing in Portugal by Alvaro Siza. Every unit has a patio and different cloured details to be not alienating. Inhabiting is also find our place to live inside a comunity.
‘78 / inhabiting
This room designed by AG Fronzoni is the expression of what minimal artists research in that period. Places with the necessary and not more.
‘79 / inhabiting
‘80 / inhabiting
‘81 / inhabiting
‘82 / inhabiting
‘83 / inhabiting
In this house by E. S. de Moura the shape of the space suggest the way to live it. It’s a place to inhabit in relax and get rest
‘84 / inhabiting
This is a project by Gabriele Basilico wich interprets the relation between objects and people. Inhabiting find place in this gap, between objects and their owner.
‘85 / inhabiting
‘86 / inhabiting
‘87 / inhabiting
This patio before the entrance of the house work like a filter between inside and outside, making the passage violenceless
‘88 / inhabiting
‘89 / inhabiting
This patio with enclosed by this big walls make people who inhabit it, feel all the power of the place where thy are
‘90 / inhabiting
Loosing of the idea of “one space for each function” improove research on spaces wich are totally flexible and designed in the minimum space possible.
‘91 / inhabiting
Inhabiting means also appropriating of the space creating place for people and comunity.
‘92 / inhabiting
Inhabiting means also fell protect at our home, and circle shape can help to built this atmosphere
‘93 / inhabiting
Find a place on the world in connection with nature and take care of it is one of the essential way to live in harmony.
‘94 / inhabiting
This is an ironic interpretation about current needs of minimum spaces that contemporarity requires.
‘95 / inhabiting
A kind of cable where sleep. Thought as an indipendent unit wich is possible to move from place to place dipending from the owner.
‘96 / inhabiting
‘97 / inhabiting
Inhabiting is the whole of byological needs, relation between objects and people and
‘98 / inhabiting
A place strectly influenced by the nature of the site and the way of living of the people. This is not a house but only a stuff wich can help the owner to live his life. It’s built in continuity with the context so we can situate it in the world by our mind.
‘99 / inhabiting
This is a corner of a little place built by Terunobu Fujimori. Use like a tea house and shaped as a small cube standing on some cutting branch of a tree, is a space were u can feel your relation with the univers outside.
‘00 / inhabiting
A space wich is not only a bedroom but a place to be in relax, like a nest. As Heiddeger said: “place and space are not the same, as home and house”. This big window obove the bed remaind to the condition of “man being in the world”.
CREDITS ‘01_ Drawing room, 120 Mains Street, Glasgow, Charles Rennie Mackintosh and Margaret Macdonald Mackintosh, 1900-1902 ph: © T & R Annan & Sons Ltd
‘12_
‘02_
‘15_
‘03_ Villa Karma, Vevey, Swiss, Adolf Loos, 1903-1906
‘16_
‘04_ Principal bedroom, The Hill House, Charles Rennie Mackintosh, 1900-1904 ph: © T & R Annan & Sons Ltd
‘18_
‘05_ Hall of Stoclet Palace, Bruxelles, Josef Hoffmann, 1905 from: Eduard F. Sekler, “Josef Hoffmann 1870-1956”, Electa, Milano, 1991, p.348 ‘06_ ‘07_ ‘08_ living room, Peter Behens, 1908
‘13_ ‘14_
‘17_
‘19_ Antellani House, Corso magenta 65, Milan, Italy, Piero Portaluppi, 1919 from: “Linea errante nell’architettura del Novecento”, curated by Luca Molinari, Piero Portaluppi Foundation, Skira, Milano 2003 ‘20_ ‘21_ ‘22_ ‘23_
‘09_ Dinner room, Robie House, Chicago, USA, Frank Lloyd Wright, 1909 from: Pfeiffer Brooks Bruce, “I Capolavori”, Milano, Rizzoli, 2000
‘24_ House E1027, Roquebrune - Cap Martin, Alpes maritimes, southern France, Eileen Gray and Jean Badovici, 1924 ph: “L’Architecture vivante” 1929.
‘10_
‘25_
‘11_
‘26_
Frankfurt Kitchen, Ginnheim-Höhenblick Housing Estate, Frankfurt am Main, Germany, Margaret Schutte Lihotzky, 1926 from: www.dwell.com ‘27_ Rue de Lota apartment, Paris, France, Eileen Gray, 1927 from: designmuseum.org ph: Berenice Abbott ‘28_ Maison de Verre, Paris, France, Pierre Chareau, 1928 ph:Cliché Daniel Lebée, SDIG ‘29_ Villa Müller, Prague, Czech Republic, Adolf Loos, 1929-1930 from: “Casa Müller a Praga : Adolf Loos”, Giovanni Denti, Alinea, Firenze, 1999 ph: Leonina Roversi ‘30_ M. Charles de Beistegui Apartment, Paris, France, Le Corbusier, 1929-1930 from: FLC-ADAGP ‘31_ Villa Tugendhat, Brno, Czech Republic, Mies Van Der Rohe from: “Casa Tugendhat : Ludwig Mies van der Rohe”, curated by Lorenzo Cremonini, Marino Moretti, Vittorio Pannocchia, Alinea, Firenze, 1997 ‘32_ Sala Pranzo, Villa Campiglio, Milan, Italy, Piero Portaluppi, 1932 from: “Linea errante nell’architettura del Novecento”, curated by Luca Molinari, Piero Portaluppi Foundation, Skira, Milano 2003 ‘33_
‘34_ House at Journalists Village, Milano, Italy, Luigi Figini, Gino Pollini, 1934 from: “Terrazzo”, curated by V. Gregotti, G. Marzari, in “Luigi Figini, Gino Pollini. Opera completa”, Electa, Milano 1996 ‘35_ Living Room, Kauffman House, USA, Frank Lloyd Wright, 1935 from: Pfeiffer Brooks Bruce, “I Capolavori”, Milano, Rizzoli, 2000 ‘36_ Roberto Sarfatti Memorial, Asiago, Italy, Giuseppe Terragni, 1936 from: tumbaymonumento.com ‘37_ ‘38_ Villa Mairea, Noormarkku, Finland, Alvar Aalto, 1937-1939 from: “Alvar aalto : Villa Mairea, Noormarkku, Finland : 1937-39”, edited and photographed by Yukio Futagawa, text by Juhani Pallasmaa, A.D.A. Edita, Tokyo, 1985 ‘39_ Modernist fazenda, Capuava, Sao Paolo, Flavio de Carvalho ph: ateliernet.blogspot.com. ‘40_ ‘41_ ‘42_ ‘43_ Ballroom House, Pampulha, Belo Horizonte, Brazil, Oscar Nyemeier, 1943 from: “blueprintmagazine uk” by Luisa Lambri ph: Luisa Lambri
‘44_ House of Ada and Cesare Minola, Turin, Italy, Carlo Mollino, 1944 from: atom-a.com ‘45_ Maharishi Mahesh Yogi’s Ashram_Rishikesh, Uttar Pradesh, India, 1945 from: ateliernet.com ‘46_ ‘47_ Barragán’s House, Calle Ramìrez, Mexico City, Luis Barragan, 1947-1948 ph: © Armando Salas, Portugal-Barragán Foundation, Switzerland ‘48_ Artigas House, Sao Paulo, Brazil, João Batista Vilanova Artigas, 1948-1949. ‘49_ Cabanon, Roquebrune - Cap Martin, France, Le Corbusier, 1949 from: FLC/ADAGP ph: Olivier Martin-Gambier, 2006 ‘50_ House of Glass, Sao Paulo, Brazil, Lina Bo Bardi, 1950 from: archivio IUAV ‘51_ Miss Monorama Sarabhai Villa, Ahmedabad, India, Le Corbusier, 1951 from: FLC-ADAGP ‘52_ ‘53_ Model for a house, Werkbund, Berlin, Kaete Glaeser, 1953 from: ateliernet.com ‘54_
Fireplace room, House for Caterina Marcenaro, Franco Albini, 1954 from: domus 1955 ‘55_Romanelli House, A. Masieri, B. Morassutti, C. Scarpa, 1955 from: “Bruno Morassutti : 1920-2008 opere e progetti”, curated by Giulio Barazzetta e Roberto Dulio, Electa, Milano, 2009 ‘56_ View from patio to kitchen, the House of the Future, Alison + Peter Smithson, 1956 from: Daily Mail Ideal Home Show, London ‘57_ “Colori e forme nella casa d’oggi”, Villa Olmo, Como, Italy, Achille and Pier Giacomo Castiglioni, 1957 ‘58_ Sky House, Tokyo, Kiyonori Kikutake, 1958 from: “Minimum” Lotus 142, p.11 ph: Shinkencchiku-sha ‘59_ Valeria P. Cirell House, Sao Paulo, Brazil, Lina Bo Bardi, 1959 from: archivio IUAV ‘60_ Leme’s House, Sao Paulo, Brazil, Paulo Mendes Da Rocha ‘61_ ‘62_ Rotalinti House, Bellinzona, Svizzera, Aurelio Galfetti, 1962 from: aureliogalfetti.com ‘63_ Electromedical Set, Tomàs Maldonado, 1963 from:Belvedere, Milano rende omaggio
a Tomás Maldonado, il designer amico dell’ambiente di Francesco Massoni www.Affaritaliani.it ‘64_ ‘65_ ‘66_ “Acast of the space under my chair”, Bruce Nauman, 1966 ‘67_ Villa Califfa, Santa Marinella, Roma, Luigi Moretti, 1967 from: “La torre delle camere da letto” in “Luigi Moretti”, curated by Salvatore Santuccio, Zanichelli, Bologna, 1986, p.168 ‘68_ Water Table, Isamu Noguchi, 1968 ph: ©Isamu Noguchi Foundation, New York ‘69_ ‘70_ The Nakagin Capsule Tower, Ginza, Tokyo, 1970, Kisho Kurokawa ph: © Tomio Ohashi ‘71_ Abitacolo, Bruno Munari, 1971 from: “Da cosa nasce cosa: appunti per una metodologia progettuale”, Bruno Munari, Laterza, Roma, Bari, 1981 ‘72_Twelve Ideal Cities, Superstudio, 1972 from: “Superstudio” curated by Roberto Gargiani, Beatrice Lampariello, GLF editori Laterza, Roma, Bari, 2010 ‘73_ Total Furnishing Unit, Joe Colombo, 1973 from: “Joe Colombo: design antropologico” curated by Giovanni D’Ambrosio, Torino,
2004. ‘74_ Serpentone, Cini Boeri from: “Cini Boeri: architetto e designer” curated by Cecilia Avogadro, Silvana, Cinisello Balsamo, 2004 ‘75_ Disegno di una porta per entrare nell’ombra, Ettore Sottsass, 1972-1978 from: “Ettore Sottsass, Metafore”, curated by Milco Carboni e Barbara Radice, Skira, Milano, 2002 ‘76_ House in Kamiwada, Okazaki, Aichi, Japan, Toyo Ito, 1976 from: www.toyo-ito.co.jp ‘77_ Social Housing in Quinta da Malagueira, Evora, Alvaro Siza, 1977 from: “El Croquis 68 69 + 95”, ElCroquis Editorial, Madrid, 2007, p.76 ‘78_ Pernigotti Home, Milan, Italy, AG Fronzoni, 1978 from: “Minimalist Architecture” by Franco Bertoni ph: Aldo Ballo ‘79_ ‘80_ ‘81_ ‘82_ ‘83_ House in Quinta do Lago, Algarve, Portugal, Eduardo Souto de Moura, 1982-1983 from: “Eduardo Souto De Moura” curated by Antonio Esposito and Giovanni Leoni,
Electa, 2005 ‘84_ Contact series, Gabriele Basilico, 1984 from: “Contact”,fotografía Polaroid in negativo, 1984 ph: © Gabriele Basilico ‘85_ ‘86_ ‘87_ Alcaneva House, Torres Novas, Portugal, Eduardo Souto de Moura, 1982-1984 from: “Eduardo Souto De Moura” curated by Antonio Esposito and Giovanni Leoni, Electa, 2005 ‘88_ ‘89_ Neuendorf Villa, Mallorca, Spain, Claudio Silvestrin and John Pawson, 1988-1989 from: “Minimalist Architecture” by Franco Bertoni ph: Aldo Ballo ‘90_ Crate House, Allan Wexler, 1990 from: allanwexlerstudio.it ‘91_ Grey Clam, interactive sculture, Jene Highstein, 1991 ph: Anders Norrsell ‘92_ Villa in the forest, Chino, Nagano, Japan, Kazuyo Sejima, 1992-1993 from: “El Croquis 77, Kazuyo Sejima 19881996” ‘93_ House in Paros, Greece, Aurelio Galfetti,
1993-1994 from: aureliogalfetti.com ‘94_ The Vinyl Milford, Allan Wexler, 1994 from: allanwexlerstudio.it ‘95_ Living Unit_Andrea Zittel, 1994-1995 from: inhabitat.com ‘96_ Sea of japan, Tokyo, Japan, Hiroshi Sujimoto, 1996 ph: Hiroshi Sujimoto ‘97_ Maison a Bordeaux, France, Rem Koolhaas, 1997 ph: Hans Werlemann© All rights reserved ‘98_ Extension of the charcoal-burner’s hut, Santa Rosa, Chile, Smiljan Radic + Marcela Correa, 1998 from: www.eartharchitecture.org ‘99_ Tea house, Japan, Terunobu Fujimori, 1999-2003 from: www.archiportale.com ‘00_ House in a plume grove, Tokyo, Japan, SANAA, 2000-2003