Interiority

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INTERIORITY

Interiority by Marta Benedetti

Didactic exercise Fall Semester 2010

Interior worlds: “interiority” Main Editor Gennaro Postiglione Course of Interior Architecture Faculty of Architettura e Società Politecnico di Milano www.lablog.org.uk Editor Marta Benedetti

only for pedagogic purpose not for commercial use

INDEX 00_Interiority by Marie Frier 01_Hvittrska Villa 01.1_Craftsman House 02_Boke House 03_Mackintosh Building 04_Hill House 05_Casa Battlò 07_Babson House 08_Coonley House 09_Gamble House 10_Villa Garnier 11_Taliesin 12_Scheu House 13_48 Storey’s Way 14_Dugout Houses 15_Imperial Hotel 16_Study for a bedroom in Villa Schwob 17_Niche with sofas

18_Niche with bathtub

40_Malaparte House

19_Hollyhock House

40.1_!"#$%&'()"*+,-#+

20_Niche with triclinium

42_Kelton Apartments

21_Chase House

43_Jacobs House

22_Maison d’une artiste 23_Bedroom for a lady

44_“A man comes home tired after a long ."/'"+'01*2'"#.'$#.&'"#'3#41,51*+"67-' armchair”

24_Niche

45_Eames House

25_Chambre de Dame

46_Westerner Motor Hotel’s bridal suite

26_Moller House

47_Endless House

27_Mel’nikov House

48_Standard of Living Package

28_Maison de Verre

49_Glass House, P. Johnson

29_Paimio Sanatorium

50_Bavinger House

30_Tugendhat House

51_Glass House, L. Bo Bardi

31_Ville Savoye

52_Le Cabanon

32_Villa Necchi Campiglio

53_Niemeyer House

33_Immeuble Molitor

54_One room lodging

34_Villa Figini

55_Fawcett House

35_Coates’ Flat

56_La Tourette

36_Fallingwater house

57_Egg

37_Wingspread

58_House in Sabana de Bogotà

38_Ensemble 1

59_Case Study House n. 22

39_Villa Mairea

60_Fisher House

61_Box for standing

84_Fitting for a Thonet chair

62_Guffanti House

85_House for a couple

62.1_Moore House

86_Fitting by Maria Luisa Brighenti

64_Vanna Vneturi House

86.1_Fitting for “Light system Ya Ya”

65_Room for making love

87_Qualia House

66_House in Via Paravia

88_House as a readied stage

67_Superonda Sofa

89_Hotel Ashigarashimo-gun

89:;-#+*""7'!-<--*'=5$4-'!3>7.>6?

90_Davis’ House

69_Villa Spies

91_Greenberg House

70_22nd Street Loft

92_Gaspar House

71_Wearable Chair

93_Rothman Apartment

72_Total Furnishing Unit

94_Vertical Home

73_Containers System

95_Single Family House,

75_House VI

96_Miss Sargfabrik

76_Azuma House

97_House n. 21

77_Dwelling for a young woman

98_Tampa Skull

78_Koshino House

99_Brackett House

79_Gehry House 00_Personal Interpretation 79.1_Capsule Inn Osaka 82_Mendini’s Apartment 83_Monolocale per signora 83.1_Fitting for Milano Triennale

Interiority by Marie Frier

Abstract If considering our sensuous perception of space we intuitively recognize the cruciality of Mario Praz’s notion that in its capacity as a molded gesture to the human body, the softness of interior furnishing preconditions our experience of a place as home: a soft interiority without which “the human soul would feel like a snail without its shell”, and which – it is our claim – can be rediscovered as a spatial discipline interrelating that of architecture and furniture making in the precisely orchestrated interiors of, for example, Charles Rennie Mackintosh, Adolf Loos, Le Corbusier, Frank Lloyd Wright, Rudolf Schindler, Alvar Aalto and Sverre Fehn. In the sensuousness of these Functionalist interiors, we perceive how room and furniture merge as a result of a deliberate engagement with functionality and scenography in the transformation of the architectural volume into a home inviting the inhabitant to see, touch, hear, smell and taste. Today, this volatile que-

stion of architecturally addressing home in its interiority is, however, easily disregarded within the practical realm of construction. Here the particular technologi4"7@'$#"#4>"7'"#.'47>,"+>4'+*"#&51*,"+>1#&' affecting contemporary society are in focus leaving our houses homogeneous and uninviting. Within domestic architecture in general and prefabrication in particular there seems to be a need to readdress the before mentioned Functionalist interiors in a search for principles for actualizing interiority. Consequently, the goal of this paper is to investigate how the perceived interiority of these works, having survived into the present, can be activated in a future positioning of interiority as a theory and methodology for transforming construction into home.

Paper Using our senses we intuitively recognize the inviting interiority of the precisely orchestrated interiors of, for example, Mackintosh, Loos, Le Corbusier, Wright, Schindler, Aalto and Fehn. In the sensuousness of these works, we experience how building envelope and furniture merge as a result of a deliberate engagement with functionality and scenography in the transformation of the building envelope into furnishing spatial elements inviting the inhabitantto see, touch, hear, smell and taste home. Such detailed spatial engagement with the intangible concept of home is, however, easily disregarded within the increasingly complex practical, economic, and climatic realm of architecture leaving our houses as raw constructions. Consequently, this paper investigates whether the perceived interior qualities of the previously mentioned works can be articulated and activated as principles in a future positioning of interiority within today’s prac-

tical realm. A preliminary research result discusses interiority (1) as a theory and design methodology for transforming the actual structural and economic elements of construction into furnishing details, signifying home. The increasingly complex processes affecting society today pose new demands on architectural practice. Especially within domestic architecture, where prefab processes have for over a century been envisioned as the means for achieving a general improvement of the ordinary dwelling, the sensuous furnishing aspects of architecture are often pushed in the background, leaving the produced houses as raw constructions rather than sensuous inviting homes. (2) Consequently, is seems that one of the greatest challenges for architecture as a discipline is to increase our involvement with industry, herein our ability to actualize, communicate, and develop the sensuous aspects of home within the

processes preconditioning practice. The A3-&+>1#' >&@' <10-B-*@' <10' +1' .-$#-' "#.' articulate the rather intangible concept of home. Through our sensuous perception we intuitively recognize the soft upholstered interiority of furniture, described by Praz as a precondition for our experience of a place as home: (3) a interiority which is our claim, can be rediscovered as a spatial discipline interrelating building envelope and furniture in the precisely orchestrated Functionalist interiors of, for example, Mackintosh, Loos, Le Corbusier, Wright, Schindler, Aalto and Fehn. Here details such as built in seats and niches create points of actual sensuous interaction with the house, details in which wall and chair merge as a result of a deliberate engagement with functionality and scenography inviting the inhabitant to see, touch, hear, smell and taste the interiority of the house as home. Not only do they provide for functionality embracing the senses, it is our belief that they also stage the complex pleasures of the mind such as in Mackintosh’s choreographed meeting of male "#.'5-,"7-'>#')*-4>&-7/'.-$#-.'#>4<-&'.-marked by his high-backed chairs. These works can be considered total works of art, built under conditions which are radically different from the ones governing the ordinary dwelling. However, it is our hypothesis that they contain crucial principles necessary in attempting to spatially .-$#-'+<-'>#+"#?>67-'41#4-)+'15'<1,-C'DEF' Consequently, it is the goal of this paper to investigate how the perceived interiority of these works, having kept their relevance in the present, can be articulated and activated in a future positioning of interiority as an architectural theory and design method for transforming the structural and economical elements of construction into home in the ordinary dwelling. Methodologically this is pursued by attempting to utilize interiority as an analysis-method, pursuing a testing of the particular hypothesis that a single furnishing element contains the seed for constructing a home in

its entirety. (5) Interiority as an analysis-method In Unwin’s Analyzing Architecture his no+>1#' 15' G"*4<>+-4+3*-' "&' >.-#+>$4"+>1#' 15' place” has led to a listing of specialized "#"7/&>&H')"*",-+-*&I'&+*"+>$4"+>1#@'+*"#&>tion, hierarchy, etc. (6) In a similar manner von Meiss and Arnheim uses notions such as order, disorder, solid, hollow etc. in describing architecture. (7) However, rather than attempting to describe the architectural work and the instruments at play in their entirety, it has been our strategy here, to look at architecture-analysis in a more immediate manner; from the point of view of the chair. Herein we use interiority as a critical perspective through which to dissect the spatial principles governing our sensuous experience of home. In this mat+-*'0-'<"B-'6-?3#'6/'J11,>#?'>#@'$*&+'1#' the concept of furniture, hereafter on the 63>7.>#?' -#B-71)-' "#.' $#"77/' +<->*' >#+-*relation, interiority, using Corbusier’s Villa Stein as an analysis-example. (8) Furniture As described by Lucie-Smith there exist an endless number of furniture variations, dining-tables, sofas, bookcases etc. However, all of which derive from one of the four typologies; pieces on which to sit, put things, sleep or recline and pieces in which to store things. (9) One could say that furniture unfolds a sensuous invitation, “serving our bodies and possessions” to use the words 15' (6-*4*1,6>-@' 0<1' .-$#-&' +01' 6"&>4' typologies of furniture; one serving our bodies, sofas, chairs, and beds, and one serving our possessions, shelves, tables "#.' 471&-+&' "&' >773&+*"+-.' >#' $?C' KC' DKLF' Pieces of furniture are mobile elements wherein our bodies and our things can rest upon surfaces and inside cavities, often upholstered, offering a soft encounter. Brayer has argued that a chair is immediately inhabitable, “a symbol of the dwelling”,

as an effect of this particular softness and proximity to the human body. (11) However, there are also differences between chair and house. Building envelope In opposition to the mobility of furniture the building envelope once erected is >#' ?-#-*"7' $M-.C' N"+<-*' +<"#' &3))1*+ing and serving our bodies and possessions, it shields us against the weather, 6"&>4"77/' 41#&>&+>#?' 15' O11*@' 0"77@' *115@' 0>#.10@'"#.'.11*'"&'-M-,)7>$-.'># $?C'PC'Q10-B-*@'"&'.-&4*>6-.'6/'R-,)-*' in his studies on the origins of construc+>1#'+<-'<13&-'-B17B-.'$*&+'"#.'51*-,1&+' as an enclosure preconditioned and derived from the technique of weaving. (12) Thus, whereas in general we think of the house as a framework large enough for us to stand up and walk around in, it derives from the principle of dressing, describing a proximity to the human body even more intimate than that of furniture and opposing the raw constructions making up our houses today. We cannot only conclude that the softness of furniture preconditions our experience of a place as a home as stated by Praz, but also that the actual technique for constructing the house derives from this particular intimacy. Thus, rather than looking at furniture as a mobile addition +1' +<-' $M-.' 63>7.>#?' -#B-71)-' "#.' "#' autonomous discipline, we can begin to look at furniture, building envelope and construction as being interrelated architectural dimensions of the home. Interiority In interrelating furniture and building envelope as proposed above, both are transformed. Rather than being mobile the chair is now contextualized accentuating particular qualities of the house. The chair is no longer just a piece on which to sit, it becomes a place in which to sit. Likewise the house is no longer a raw construction, but contains sensuous

spatial elements inviting the inhabitant to sense the house as a home; places in which to sit, eat, sleep, bathe and syn+<-&>J-'"&'>773&+*"+-.'>#'$?C'SC'T<3&@'"5+-*' <"B>#?'J11,-.'>#@'$*&+'1#'53*#>+3*-@'&36sequently on the building envelope, we can now attempt an actual formulation and testing of interiority as an analysis method. Looking at Villa Stein as an example, we can hereby direct our analysis to particular spatial elements, points of encounter between furniture (sofa, chair, bed, shelves, table, and closet) "#.' 63>7.>#?' -#B-71)-' DO11*@' 0"77@' *115@' window, and door). Fig. 4 shows how the spaces in Villa Stein actually evolve from the principle of a shelf. In creating a curvature contrasting the rigid constructive framework of the house, the shelf interacts with the wall in the creation of niches, bookcases, and seats, further slicing "'<17-'>#'O11*'"#.'*115@'4*-"+>#?'"'B>&3"7' contact to the storey below. One example is how the seat created by the shelf directs the inhabitants’ attention towards the small window opposite the seat. Another is how the shelf wraps around the wall to the right creating a cavity serving as a sideboard on one side and as a decoration-shelf on the other. Thus, not only does Le Corbusier provide for functionality and sensuous encounters in the creation of a place to sit and to eat, but also for places of synthesis, for displaying our object trouvÊ, (13) objects signifying the complexity of the mind. We cannot only conclude that it is in this particular and deliberate transformation of the building envelope into furnishing spatial elements that the seeds for constructing the home in its entirety are to be found: But also that the specialized instruments governing architecture as a discipline are hereby made physical, and articulate. Discussion In returning to our examples, the works of Mackintosh, Loos, Le Corbusier, Wright,

Schindler, Aalto and Fehn, we can conclude that they do not solely represent an exclusivity unknown of the ordinary dwelling; they also contain precise and prosaic principles of interiority, thus ,"2>#?'+<-'&>?#>$4"#4-'15'<1,-')</&>cal and articulate both for the senses and the mind. The future challenge, however, is how to relate these principles to the structural and economic means of construction; plate, shear wall, beam, col3,#@'617+'"#.'&4*-0@'>773&+*"+-.'>#'$?C'UC We close the paper by proposing a development of interiority as a theory and design method for transforming the actual structural elements of construction into furnishing details, asking whether it is possible for the softness of upholstery to evolve directly within the economy of construction? This is a challenge which not only requires a passionate engagement with the concept of home, but also with the practical realm of the ordinary dwelling: an inherent and increasing architectural challenge, which may be utopian in its destination, but which is nevertheless captivating and necessary.

!"#$%&'($)'#*#+,#-$.+$,".*$)/)#'$.*$)/',01$2nanced by the Danish housing manufacturer Boel Living A/S. In addition Boel Living A/S is our project partner offering not only a view into the practical realm of prefabrication but also an actual and engaging context for pursuing a practical testing of theory, a matter discussed further in a paper recently published in Design Principles&Practices – An International Journal, vol. 4, i. 2. The support is gratefully acknowledged.

References Abercrombie, Stanley. 1990. A Philosophy of Interior Design. New York: Harper&Row Publishers.

Taylor, Mark, and Julieanna Preston, eds. 2006. INTIMUS: Interior Design Theory Reader. Chichester: John Wiley&Sons.

Arieff, Allison, and Bryan Burkhart. 2003. Prefab. Salt Lake City: Gibbs Smith.

Unwin, Simon. 2003. Analysing Architecture. London: Routledge.

Arnheim, Rudolf. 1977. The Dynamics of Architectural Form. Berkeley, London: University of California Press.

von Meiss, Pierre. 1998. Elements of Architecture: From Form to Place (1990). London: E.&FN. Spon.

Brayer, Marie-Ange, and Béatrice Simonot. 2002. ArchiLab’s Futurehouse: Radical Experiments in Living Space. London: Thames&Hudson.

von Vegesack, Alexander, Stanislaus von Moos, Arther Rüegg, and Mateo Kries. 2007. Le Corbusier, the Art of Architecture. Weil am Rhein: Vitra Design Museum.

Herbert, Gilbert. 1984. The Dream of the Factory-made House: Walter Gropius and Konrad Wachsmann. Cambridge, Mass., London: the MIT Press. Lucie-Smith, Edward. 1979. Furniture: A Concise History. The World of Art Library. London: Thames&Hudson. Praz, Mario. 1964. An Illustrated History of Interior Decoration: From Pompeii to Art Nouveau. London: Thames&Hudson. Rice, Charles. 2007. The Emergence of the Interior: Architecture, Modernity, Domesticity. London: Routledge. Risselada, Max. 1988. Raumplan versus Plan Libre: Adolf Loos and Le Corbusier, 1919-1930. New York: Rizzoli. Rizzi, Roberto. 2003. Civilization of Living: The Evolution of European Domestic Interiors. Milano: Edizioni Lybra Immagine. Semper, Gottfried. 1989. The Four Elements of Architecture and Other Writings. Trans. Harry Francis Mallgrave, and Wolfgang Hermann. Cambridge: Cambridge University Press.

ATLAS

‘01/interiority/building envelope

This house outside Helsinki is the private home of the architect, Eliel Saarinen. He decided to create a little squared corner in 41##-4+>1#'0>+<'+<-'$##>&<'011.'13+&>.-' to be used during summer. The interiority of the place is given by the link between the house and the wood: in fact, natural material, like stone and wood of the “drilled wall� and furniture, anticipate the elements of the garden. In this way, the two spaces are not directly connected; from the balcony, the inhabitants can contemplate and taste the nature that they will discover outside the house. In this way, the house becomes pleasant to be lived because it shows even in its structure many spots of nature, with which people want to be in contact in such a location.

‘01.1/interiority/building envelope

The sense of intimacy and interiority is here obtained through three elements: the big carpet which enentirely cover the room and consequently the upholstered furniture, the wood used to build the house but also to decorate it and to create the furniture, and last but not least by the niche which contains the windows. This space is very little and there are no possibilities to isolate oneself, though the intimacy is always present.

‘02/interiority/furniture+building envelope

T<-' .>5$437+' &)"4-' 3#.-*' +<-' &+">*4"&-' >&' used in this house to create a very intimate 41*#-*C' T<-' 011.' "#.' +<-' $*-)7"4-@' 0>+<' their warm colours, attract the inhabitants to sit on the bench. The niche is obtained thanks to the position of this furnishing element and its high chair back, that also has the function to protect peolple sat there; that’s the reason why inhabitants like to live this part of their house, home must mean “protection”.

‘03/interiority/building envelope

Bow windows are used in architecture to create a more private space in a big room; it is a sort of connection between the inside and the outside, a corner in which many activities can take place. It is generally characterized by upholstered and comfortable furniture, natural light and visual connection with the outside. That’s why people are invited to sit and stay there, the building envelope is transformed into furnishing elements that attract the inhabitants to live this part of the house, improving the contact between the structure and themselves, i.e. interiority.

‘04/interiority/building envelope

In this house, Mackintosh wanted to cre"+-'"'&1*+'15'#-&+'51*'+<-'413)7-I'+<-'$*&+' solution presented sliding doors to close the space containing the bed, the most private corner of the room, but in the end the architect decided to make “different� this corner only by using a bended ceiling +<"+'$M&'+<-'"++-#+>1#1#'<-*-C'T<-'0"#+'>&' to make people discover this spot. Light colours of the building envelope, in opposition with dark colours of the furnitures, improve the sense of domesticity and wormth of the place.

‘05/interiority/building envelope

This apartment is special, it’s unique. This aspect can help in feeling it yours. The irregularity of the bearing structure is set "?">#&+' +<-' *-?37"*>+/' 15' O11*&%' +-M+3*-&@' doors and windows. But it’s the irregular "&)-4+'+<"+',"2-&'+<>&'<1,-'O3>.@'>#'"..>tion to the irregularity of all the rooms. This O3>.>+/',"2-&'+<-'>#<"6>+"#+'"#.'+<-'B>&>+1*' want to discover the house and its spaces, not caring about what happens outside the biulding; every movement, every sight is towards inner dimension of the house.

‘07/interiority/building envelope

This old house has a particular characteristic, the intimate corner on the left of the room. This space is a sort of bow window dedicated to personal activities or conver&"+>1#I'>#'+<-'$*&+'4"&-'+<-'>#<"6>+"#+'4"#' 471&-' +<-' 43*+">#&' "#.' $#.' <>,&-75' 41,pletely alone and separate from the main room, connected with the nature outside, and in the second case people can sit in this niche completely opened to the living room. It is probable that this corner has been planned to isolate oneself from the rest of the house; in fact the ceiling is lower and the furniture is upholstered, unlike the main living space. In this case, so, interiority concerns the strict relationship that grows up between the inhabitant and the house, which helps <>,'+1'$#.'"')*>B"+-',1,-#+'+1'7112'>#&>.-' himself.

‘08/interiority/building envelope

In this big living room, two elements help +<-'<13&-'+1'6-41,-'"'<1,-V'+<-'$*-)7"4-' and the little corner on the right of the image, raised to the main room. This space gives the inhabitants the possibility to live the living room in a private form, cozy and intimate. Here, the ceiling is lower, and there are no windows; so, the corner is opened only to the living room, and this aspect gives the area a higher sense of protection.

‘09/interiority/building envelope

This ancient house presents a very big living room, in which many activities can take place. There also is an intimate cor#-*'>#'41**-&)1#.-#4-'0>+<'+<-'$*-)7"4-C' This area cannot be closed from the main room, but it has some characteristics that make it different from the living room. The considered space is private, it is a sort of niche in which individual activities can be done, regarding islation and intimacy, in one word, interiority.

‘10/interiority/building envelope

The bedroom has the characteristic to be a common bedroom, but also a private living room. For that reason, there is the need to obtain more privacy in the bed zone through two curtains; they can be closed during the day when the private living room is used, and they can be opened during the night to create a continuity between the spaces, as they can stay closed to have intimacy. W#+-*>1*>+/' 41#4-*#&' "77' +<-' 41#$?3*"+>1#&' that the room can assume depending on the needs of the inhabitant.

‘11/interiority/furniture+building envelope

In the main living room there are different areas; two of them are divided by a sofa #-"*'+<-'$*-)7"4-C'T<>&'.>B>&>1#'4*-"+-&'"' )*>B"+-' "*-"' >#' 5*1#+' 15' +<-' $*-@' +<-' <-"*+' of the entire house. The sense of intimacy of the corner is helped by the direction of the pitch that concentrates the attention on this spot, improving a sense of closure and, consequently, interiority. In fact, the purpose of the building was to let the architect and his students live in a familiar space, in contact with nature, which is carried inside the house by using natural materials as for example wood and stone.

‘12/interiority/furniture+building envelope

The architect wanted to create in a big room, a corner for conversation, with two sofas, one in front of the other. Intimacy and interiority concern the closure of the space, the sense of protection that it can give, with soft lights and warm wood. The interesting thing is also that the niche has been thought also as a reading space next to the private library, becoming a place for personal activities, too.

‘13/interiority/building envelope

T<-' $*-)7"4-' 15' +<>&' 7>B>#?' *11,' )*-&-#+&' +01'&>++>#?'-7-,-#+&I'+<-'$*&+'1#-@'1#'+<-' left, is more comfortable, but the second one, on the right, is more intimate. In fact, light does not arrive here so brightly and, since the bench is leant against the wall, people sit there have the impression to be protected. From here, there is the possibility to look all over the room. This corner is particularly convenient for individual activities, living quietly the house; interiority concerns that aspect.

‘14/interiority/building envelope

The photo shows a living room and a dining room of a particular rural house, dug into the rock. Since it is very compact and resistant, when the inhabitants need more space, they simply dig the mountain, creating the room they need. So, interiority is represented by this solid relationship between the house and people who live in; home can change depending on inhabitants’ needs, it is ready to transform itself after a change into the family it hosts.

‘15/interiority/furniture

T1' )7"#' "#' <1+-7' *11,' >&' "' B-*/' .>5$437+' challenge; the purpose of this space is to make people feel at home in a place that is not a home at all. Domesticity and interiority can be found here in the low ceiling, upholstered furniture and in the presence of all the typical elements of the house: ta67-'7",)&@'"*,4<">*&@'$*-)7"4-@'+-#+&'"#.' ornaments.

‘16/interiority/furniture+building envelope

The living room in the picture is very big, and the sense of privacy could be lost here. For this reason, the architect felt the need to create a corner in which inhabit"#+&' 4137.' $#.' ,1*-' >#+>,"4/@' "#.' <-' decided to close it with a tent. The niche can be used as a space for conversation or as a space for private activities, such as reading, meditating. When people want a higher sense of intimacy, they can isolate themselves, closing both tents, the one towards the outside and the one towards the inside of the house. Otherwise, when privacy isn’t requested, tents can be opened, and enlarge the living room.

‘17/interiority/furniture+building envelope

T<-'#>4<-'>&'+<-'$*&+'-7-,-#+'+<"+')-1)7-' can see when they goes into the big living room, also because it is on a little podium; it is highlighted by a dark drawing on the curved wall and by a dark sofa, while the rest of the room is almost light. When someone is sit there, he can watch all the living room, being on a priviledged position, “safe”. It is an ideal corner for conversation. Interiority in this case is a perfect union between furniture and building envelope, to invite people to live this spot of the house.

‘18/interiority/building envelope

Bathroom is maybe the most private room in the house, where intimacy must be protected. The artist decided to put the bathtub in a niche, raised up by two steps, and almost totally covered by a low wall for the washbasin. When someone goes into the room, the bathtub is not immediately visible, so the privacy is preserved. Interiority here is declined in a certitude of not being disturbed and seen while living the bath.

‘19/interiority/furniture+building envelope

W#'+<>&'7>B>#?'*11,@'+<-'$*-)7"4-'1443)>-&' a relevant position, and it is highlighted thanks to a big and circular sofa. Although there are many places to sit in this room, the architect decided to introduce a sin?37"*' 41*#-*' B-*/' 471&-' +1' +<-' $*-@' ,".-' by stone. It could be seen as a margin be+0--#'+<-'7>B>#?'*11,%&'O11*'"#.'+<-'$*-@' but it invites the inhabitants to sit there. Interiority is meant as the capability of the house to offer inviting corners, to improve the relationship between people and home.

‘20/interiority/furniture+building envelope

The drawing represents a project for a living room. In a niche a triclinium has been introduced, very comfortable, turned to +<-'$*-)7"4-C'T<-'#>4<-'<"&'"'710-*'4->7>#?@' and it is highlighted thanks to the evident drawing of the walls that hold the triclinium. So, the attention is concentrated here. From the niche, inhabitants can see what happens in the living room, but they can feel protected at the same time. Interiority stays in the closed circle composed by the 53*#>+3*-'15'+<-'$*)7"4-'"#.'+<-'+*>47>#>3,C

‘21/interiority/building envelope

This space is extremely minimal, as it regards both furniture and constructive ,"+-*>"7&C'T<-'$*-)7"4-'<"&'6--#'3&-.'+1' create a more intimate corner in a open living room; here, individual activities can take place, like for example thinking, reading and meditating. But, at the same time, people sit there have the possibility to look outside and create a contact with nature, and also to look at the living room in its entire space. So, interiority in this project isn’t interpretated as a closure of the space towards themselves, but a temporary isolation of the inhabitant.

‘22/interiority/building envelope

Le Corbusier planned this atelier for the painter Ozenfant; he decided to create a huge space of work, but he probably thought that this room wasn’t convenient enough for the intellectual activity of the artist. So, he decided to arrange a little raised space, very cozy and intimate, to allow the painter to create his art; this space is connected with the outside through a small window, but it has no direct relationships with the atelier.

‘23/interiority/building envelope

The bedroom in the picture is big and the ceiling very high, and the artist had to make the bed area much more close and intimate; he decided to lower the ceiling and decorate it. In addition, he added a little circular spot that can be used as a conversation area or as a private space for the “toilette�; in any case, this spot is not immediately visible to someone who goes into the bedroom, maintaining the privacy and the interiority of the place.

‘24/interiority/building envelope

The niche contains a conversation corner with a low, curved ceiling. The architect’s purpose was to create a space characterized by meditation and privacy, to be used with friends, family or even alone. Everything here concerns the interiority of sharing and the sense of truly living the house.

‘25/interiority/furniture

The fact that the room is dedicated to a 7"./'>&'-B>.-#+'"+'+<-'$*&+'&>?<+C'XB-*/+<>#?' here is soft and upholstered, to let the lady enjoy a high sense of comfort; that’s why this room invite the owner to stay and spend time here, even when it is not time to sleep. Interiority stays in the big bed, which is in a sort of a niche, protected by curtains and walls. From here, the lady can observe all her room, also because it is on a podium, and feel safe.

‘26/interiority/building envelope

The living room is organised through different levels that, on a certain point of view, can represent diffrent privacy levels. The highest one is the corner in which blue sofas are positioned. There is the possibility to look outside but also to observe what happens in the whole living room, being on a priviledged position. So, interiority here concerns the strict relationship between the house and this niche.

‘27/interiority/furniture

This house has a particular round shape, "#.'51*'+<>&'*-"&1#'>+'0"&'.>5$437+'+1'4*-ate walls to separate the rooms, in fact bedrooms are all linked together. The particular characteristic of this spaces is that beds are on a sort of podium; while in other presented projects interiority can be found in little corners, here inhabitants must be on the focus of attention on podi3,&'+1'$#.'+<->*'>#+>,"4/C In addition. the cuved walls help to create a sense of protection all over the house, inviting the inhabitants to live it.

‘28/interiority/furniture+building envelope

Pierre Chareau, in this project, had to melt a private house with a doctor’s surgery. The architect decided to introduce a 7>++7-')*>B"+-'41*#-*'>#'"#'>#+-*,-.>"+-'O11*' turned to the waiting room, in which the doctor could discuss private matters and could relax even though he is in the working part of the house. This space, can look down towards the patients, but they can’t see the doctor’s private corner. Interiority here is also given by lots of books positioned in a particular parapet, wich means that there is the possibility to interact with the structure of the house and make it liveable.

‘29/interiority/furniture

R"#"+1*>3,&' "#.' <1&)>+"7&' "*-' .>5$437+' places to plan; people who stay here, are in a weak mental and physical condition. The planner must have the purpose to create a space with no discomfort and embarrassement, especially in the guests’ rooms. Patients should feel at home even in a place like an hospital, that in people’s thoughts is not pleasant at all. The image represents a double room with some elements that suggest us the planner’s intention to create a sort of domestic space: every patients has a own washba&>#@'+<-'"*+>$4>"7'7>?<+'>&')1&>+>1#-.'1#'-"4<' bed not to interfere with the other guest and the furniture (cupboards, chais, tables, ... ) is typical of a domestic space.

‘30/interiority/building envelope

The dining room is divided from the main living room by a curved wooden wall. There is also the possibility to close the curtains and obtain a higher sense of privacy; in this case, the contact with nature is complete, also because the shiny wall *-O-+4&' >#&>.-' +<-' <13&-' +<-' &3#7>?<+@' "&' well as the metal pillars. In this case, intimacy is not characterized by individuality but by collectivity during a meal.

‘31/interiority/building envelope

Le Corbusier draw this seat to separate the master bedroom from the bathroom; it is a sort of boundary between the room and the bathtub. The architect could draw a wall to separate the functions, but he )*-5-**-.'+1'3&-'"'$M-.'53*#>+3*-'+1')*1B>.-' natural light to the bath. It seems that this black element grows up from the ground and its ergonomic form invites people to rest here, tranforming the boundary in a place for rest.

‘32/interiority/building envelope

(+' +<-' $*&+' &>?<+@' >+' 0137.' "7,1&+' 6-' >,possible to say that the veranda is in the heart of Milan. This space can be used for conversation, but in particular to isolate oneself and think. Interiority, in this way, is meant as the possibility to have a place in which people can look into themselves, feeling protected by this cozy room and helped by the landscape outside.

‘33/interiority/furniture+building envelope

Le Corbusier wanted to create an intimate corner in a bigger living room; the skylight and the cone-shaped light help to concentrate the attention on this place, that seems to be perfect for reading and thinking. The chair is turned to the living room, so that who is sit there can be protected by the walls and can see whatever happens in the main room.

‘34/interiority/furniture+building envelope

The outside area in the picture pertains to the main bedroom of the house; when the weather allows to live comfortably the external space, this area becomes an extention of the bedroom. Interiority is present <-*-'>#'+01'-7-,-#+&V'$*&+'15'"77@'+<-'","ca, which is a sort of second bed, where inhabitants can rest and relax with privacy, then the high walls, that isolate the house from the outside, concentrating the attention only on the house and giving intimacy to the whole space.

‘35/interiority/furniture

The living room presented in the picture is not conventional; there are no sofas as we are usually used to see. The division between the living room and the dining room has been used to create a back where people can lean on while they are sit on pillows on the ground. This situation creates more intimacy and privacy, the space is held by two walls and it is raised up from the dining room by one step. The corner is not visible from the main entrance, positioned in front of the table; in fact, from the living room there is a passage to reach the bedroom and the most private rooms of the house.

‘36/interiority/building envelope

The sense of domesticity is given to this house by Wright thanks to a low ceiling, "' $*-)7"4-' "#.' #"+3*"7' ,"+-*>"7@' &34<' "&' row stone and wood. Thanks to these elements, the room becomes cozy and intimate. The sense of comfort is also given to the space by the upholsterhed furniture; at +<-'$*&+'&>?<+@'+<-'&15"&'4137.'&--,'*>?>.' because of the squared shapes, but if the visitor sit on them, he can easily test the comfort.

‘37/interiority/building envelope

Y*>?<+' 3&-.' +1' >#+*1.34-' "' $*-)7"4-' >#' his houses because he thought that this corner could be the hearth of the home; in fact, it is an attractive spot for conversation in which all the family can stay and share private moments. Firepleces in Wright’s architectures are single furnishing elements, linked to the building envelope, that can be the start points to build homes in their complexity. T<-'$*-'<"&'"70"/&'6--#'>#'-B-*/'437+3*-@' one of the most direct symbols of domesticity, that makes stronger the relationship between the house and the inhabitants.

‘38/interiority/building envelope

The architect wanted to create a private corner for conversation in a bigger living room; she decided to put this space near a high window, and wrap it into a sort of big cylinder, cut to let people sit and let the light reach the rest of the room. In the cylinder, the ceiling is lower, and a curtain, not present on the other windows, can isolate the space from the outside. Interiority is meant as the possibility to talk in private and make the house live, or isolate oneself being protected by the cylinder.

‘39/interiority/building envelope

When someone goes into this house, he has the impression to be in a very warm place, which helps in considering the building a home. Wood is almost red, so, by contrast, furniture and walls are white, to underline the difference between the 6-"*>#?'&+*34+3*-'41,)1&-.'6/'O11*&'"#.' pillars and the supported elements. My at+-#+>1#'0"&'4"3?<+'6/'+<-'7>++7-'$*-)7"4-'>#' a corner of the big living room; this corner is created through furnitures positioned in 4>*47-'"*13#.'+<-'$*-@'0<>4<'41,)1&-&'"#' intimate space, when interiority is present. The planner used a metallic structure, but, in a living room, there could be the risk of considering them too much cold; so, he decided to cover the steel with wood on "'&35$4>-#+'<->?<'+1'41B-*'+<-'3))-*')"*+' of the human body. In this way, even if the inhabitant gets in touch with it, there isn’t a cold sensation, but, on the contrary, he is invited to touch.

‘40/interiority/furniture

The room in the picture is used for the main sleeping function, since the bed is the only furnishing element of the space. This could be because the house is a vacation home, and semplicity is required in every corner. Interiority is meant here as the possibility to live intensely the sleep>#?'"4+>B>+/@'+1'$#.'"'*-"7'*-7"M@'"+'7-"&+'1#' holiday.

‘40.1/interiority/furniture

The living room in the picture has the char"4+-*>&+>4' +1'<"B-' $B-',"&&>B-' )7"#&' +<"+' delimitates the space, while the sixth one is made by light. In fact, all the windows are covered with a tight curtain made by strings of different colours that diffuse the 7>?<+' >#+1' +<-' 0<17-' *11,I' +<-' $#"7' -55-4+' is a very bright space, in which is hard to individuate the light’s source. The living room becomes a closed box, so the attention can be focused exclusively on the in+-*>1*'&)"4-@'$#.>#?'>#+-*>1*>+/'"#.')*>B"4/C

‘42/interiority/furniture

The architect planned this small house as a sort of open space; he decided that, despite the small dimensions, the space had to be parted with no walls, but with furniture and tents. In addition, thanks to that solution, even the bad can become a sofa during the day, positioned in a more private corner, convenient for personal activities. Interiority here means interchange between functions, that let the inhabitants live the house in different ways.

‘43/interiority/building envelope

The main living room has two different 41*#-*&I' +<-' $*&+' 1#-' >&' "' &1*+' 15' &+3./@' composed by a table and some chairs, but the second one is a niche in the wall that contains a comfortable sofa. It is highlighted by bricks, in opposition with wood and glass all over the room. While from the little study and from the conversation area is quite inevitable not to look outside, from the niche the sight goes towards the interior of the house, becoming a priviledged position to look at the home. This action is supposed to be interiority.

‘44/interiority/furniture

In an interesting article published on “Domus� magazine, the designer asks himself 0</' )-1)7-' 0"#+' +1' $77' +<->*' <13&-&' 0>+<' uncomfortable furniture if there is the possibility to spend few money and buy a very comfortable deckchair. In this way, inhabitants make unliveable their houses; if there are uncomfortable furniture in a room, people are not invited to stay in the room and live it, loosing the dimension of interiority. The writers, so, says that the most important aspect is to teach people to adapt in the room comfortable and cheap furniture, to feel the domesticity of their house.

‘45/interiority/furniture+building envelope

The architects planned a very big living room, but they decided to put the sofas in a niche under the balcony; thanks to that decision, the conversation area has much more privacy. In fact, the corner is protected by a big wooden furniture, and it isn’t immediately visible when someone goes into the main living room. In addition, the conversation area has no contacts with the outside, even if almost the whole building envelope is made by glass; interiority, for this reason, means that when someone is sit there, the attention goes only to the house and the living room in particular, excluding everything else.

‘46/interiority/furniture

The picture represents a bridal room of an american motor hotel. The niche that contains the bed cought my attention; it has been planned to give much more privacy to the sleeping couple and invite the guests to stay here. During the day, the tent can be closed, transforming the room into a real living room, depending on the couple’s needs. Interiority here coincides with the privacy and the intimacy that the ?3-&+&' 4"#' $#.' >#' +<->*' 6-.' "#.' >#' +<-' niche, that gives them a sense of protection.

‘47/interiority/building envelope

This picture does not strictly represent an interior; the interiority of the picture is given by the position of the architect, almost hugging the physical model of his personal project, with a paternal look. It seems that the artist would be ready to protect and defend his creature; in fact, his *-&-"*4<-&' 51*' "' )-*5-4+' "#.' O3>.' &)"4-' to live in lasted 40 years. In this project, domesticity can be understood only by its architect, and I think it is one of the most personal buildings ever thought. Unfortunately, Kiesler could feel at home and &"+>&$-.'1#7/'>#'<>&')*1Z-4+@'+<"+'<-'4137.' never manage to realise. So, interiority is meant as a strong relationship between the architect and the domestic space he planned.

‘48/interiority/furniture

Buckminster Fuller’s idea anticipate Joe ;171,61%&')*1Z-4+'15'"'&-75H&35$4>-#+'3#>+' that can be used everywhere. He was interested in looking for standard pieces that 4137.'41,)1&-'"'<13&-I'+<-'$#"7')*1Z-4+' is a box (7,3 m x 1,8 m x 1,8 m) which contains all these pieces, transportable on a big car. The main purpose of the architect was to make people choose the best solution for their home, make them personalizing their space. Interiority here is meant as a particular attention to furniture and to the way elements are lived, and not to the building envelope, neither to the outside.

‘49/interiority/furniture+building envelope

Philippe Johnson thought his famous house completely transparent to be in every moment in contact with nature. In opposition with what many architects think, he decided to put his desk in front of the window to be opened to nature even during his studies. Interiority, during the day, is offered through the contact with the garden, and in the evening, when the little light is on and the glasses turn themselves into mirrors, it is represented by the person sit on the chair and the light itself.

‘50/interiority/furniture

The solution presented in the picture as an outdoor living room is almost original. The architect thought that conversation needs a particular space to take place; in particular, he decided to insert a circular spot to let all the talkers see each other and create privacy and intimacy between them. The corner, however, can be used also by one single inhabitant to isolate himself. So, interiority has been created even in an outdoor space, simply putting a circular element that invites people to talk or isolate, feeling protected and safe.

‘51/interiority/building envelope

The beauty of this interior stays in the huge contact between the building and the nature outside; this contact is not exclusive of the relax spaces, but, on the opposite, the best position to appreciate it is a vertical connection such as the staircase. In this way, the stairs are turned into spaces to live.

‘52/interiority/furniture+building envelope

Le Corbusier has been able here to put in an extremely small place, the main functions of a normal house. He interpretated interiority as a full attention on what happens into the space; it is a holiday house, 0<-*-' +<-' >#<"6>+"#+&' 0"#+' +1' $#.' 4"7,ness and relax in a familiar place, little, warm and comfortable. For this reason, windows are little and few, studied to catch particular views of the landscape. Thanks to this characteristic, inhabitants can concentrate their attention only on themselves and on the activities that can take place in such a space.

‘53/interiority/building envelope

The idea of a curved wall is taken from Mies, but declined in a living room. The &)"4-'>&'471&-.'>#'>+&-75@'0>+<'"*+>$4>"7'7>?<+C' Comfortable sofas and warm wood invite the inhabitants to live this space, alone or 0>+<' 5*>-#.&@' +1' $#.' >#+>,"4/C'In addition, all the contacts with nature have been eliminated. Sofas are positioned one in front of the other; in this way, people sit there have their backs turned to a wall, which means a sense of protection, a sense of home.

‘54/interiority/furniture

Ponti uses the idea to put furnishing elements also on windows, that are transformed in a unconvenional connection between the inside and the outside. Inhabitants are invited to put objects on the shelves of the equipped-window, because during the day their shapes stand out against the outside landscape, while during the night the outdoor is predominant and the window is characterized by +<-')*1$7-&'15'+<1&-'16Z-4+&C'R1@'+<-'0<17-' effect changes thanks to the different elements positioned by the inhabitants, they have the key to change the perception of the space in which they live, improving their relationship with it.

‘55/interiority/building envelope

T<-' $*-)7"4-@' +<-' "*4<>+-4+%&' +/)>4"7' -7-ment, does not present in this case a circle made by sofas around it; they are settled in a niche, to create a more private and comfortable corner. But he doesn’t renounce +<-')1&&>6>7>+/'+1'&>+'B-*/'471&-'+1'+<-'$*-I' so, the division between the niche and the $*-' 6-41,-&' "' )7"4-' +1' &>+C' T<-' &/&+-,' 41,)1&-.'6/'+<-'&15"&'"#.'+<-'$*-)7"4-' is an inviting element for inhabitants, improving the interiority of all the living room.

‘56/interiority/furniture

A convent’s cell is one of the spaces where interiority is one of the main elements to be considered during the planning step. In fact, because of the religious conditions of the monks, everything must be turned to the inhabitant’s inner life. The place, by consequence, is very simple, furniture are minimal and row. All the elements invite to live the space thinking religiously about oneself and about nature outside, with which a little balcony makes in contact.

‘57/interiority/furniture

This furnishing element can be put outside the house, but even inside; its purpose is to create a sort of protective shell in a bigger space. It can comfortably contain a huddled person, so the sense of protection is higher. Interiority is turned only to the person sit there.

‘58/interiority/building envelope

The living room in the picture is very simple and linear, with almost no furniture. The el-,-#+'+<"+'"++*"4+&'+<-'"++-#+>1#'>&'+<-'$*-place and the area that it pertains, framed 6/'"'710'6-#4<'"#.'"'.>55-*-#+'O11*C'T<-' simplicity of the furniture gives the possibility to live the space in different ways, improving the interiority dimension, meant as the strong relationship between the inhabitants, their house and all the activities that can take place.

‘59/interiority/furniture

(+'+<-'$*&+'&>?<+@'+<-')<1+1'4137.#%+'$+'+<-' main theme of the book. But the visible part of the living room cought my attention; the house has been planned to highlight the beautiful landscape that can be seen from here, thanks to the wonderful position in which it has built. The architect, to reach this purpose, had to make the house disappear, to let the landscape emerge, by using steel and glass. The purpose has been reached, but the planner wouldn’t make the home loose its importance; so, sofas in the conversation area, the one in the best position, are positioned to let people see the interior of the house and concentrate not on the landscape but on conversation, on the house and on theirselves.

‘60/interiority/furniture

This house is totally absorbed into the wood, and the contact with nature is maintained even inside with row stone and wood everywhere. The space represented in the picture is a sort of niche in a bigger 7>B>#?' *11,@' 4*-"+-.' +1' 7>B-' +<-' $*-)7"4-C' The wooden bench is positioned to allow an indirect contact with the outside, but a direct contact with the inside, the home. So, this elements represents the interiority that the planner wanted to introduce in his project; even if there are many windows, the attention is totally concentrated on the interiors, on the house as it is lived by the inhabitants and on what happens inside.

‘61/interiority/building envelope

Artist’s conception of domestic space is very particular, as regards this work of art; he thinks that to build a liveable corner is necessary only a box and the single inhabitant. The interiority of the project is held in the relationship between the envelope and the person inside, who is concentrated on himself and on the minimal space he is occuping. Here, he can feel protected by the world outside, he is in condition to refuse any sort of communication and he can not allow other persons to go in his personal space. The union between his space and himself is total.

‘62/interiority/building envelope

This living room has the characteristic to have sofas and tables that can make the same function: sitting. In this way, inhabitants can use and live all the elements in the house, and not be limited to their common function. Interiority can be easily found because of the informality of this system of low furniture.

‘62.1/interiority/building envelope

The house in which the bathtub in the photo is hosted, is very small. Despite the home’s dimensions, the architect decided to highlight the bathtub, and not to hide it. So, this elements is very big and it is positioned almost in the middle of the house; but bathing is an activity that asks for privacy, so the architect built a bearing structure to support a tent. When the inhabitant feels the need of privacy the tent can be closed, otherwise it can be opened to connect him with the home. Interiority is meant as a connection between a private activity and the rest of the house, with no -B>.-#+'.>5$437+>-&C

‘64/interiority/building envelope

Interiority means, among other things, to be able to live the house in all its corners, spaces and elements, to transform it into a home. In this project, the architect had to use a staircase into the living room, but he didn’t chose to hide it; on the contrary, he decided to highlight it by using a warmcoloured wood. In addition, the staircase &--,&'+1'-#7"*?-'>+&-75@'63+'>+%&'1#7/'"'$4tion; in fact, the space obtained thanks to this enlargement, is used to expose pictures and drawings. The attention is concentrated only on this original exposition element, improving the relationship between the house and its inhabitants.

‘65/interiority/furniture

The photo is taken from the bed in the middle of the room, which is dedicated to a very intimate activity, making love. Interiority is a huge presence. It is very uncommon for architects to plan a room for this kind of activity, but evidently he felt the need to have a very personal corner in the house.

‘66/interiority/building envelope

In this project, the window is the element that characterize the whole room; in fact, it is wrapped into a wall-frame that juts out in the house, and it seems that the glass embraces a piece of the outside, which becomes part of the home. So, in this case, the window has not only the function to invite people to look outside. On the contrary, it invites inhabitants to use the space that it creates as a natural part of the room; interiority is declined here as a particular attention to the inside of the room, in a corner which would be, in reality, part of the outside.

‘67/interiority/furniture

This sofa, which actually is not really a sofa, is composed by two different parts shaped as irregular waves. They can be used in different ways, as sculptures, soft benches, sofas, chaises longues or even beds. Consequently, depending on what the users want, the two parts can be positioned one on the other or separated, in different parts of the room or of the home. This furnishing element helps in living the house in different ways, improving the relationship between the room and the inhabitants; in one word, interiority.

‘68/interiority/building envelope

Even if the project is not a residential but a working one, the architect has been able to create many intimate spaces, in which people can rest and meet collegues during breaks.The corners identify a sort of domestic spaces in an inusual context; people can feel protected here because they can look down in the main hall, observe what is happening and examine peolple without being seen.

‘69/interiority/furniture

The young swedish architect proposed to his client a not conventional house, with a huge open space/living room. In the foreground is visible a strange living; in fact, the system composed by lighting and table appears from the ground when it is necessary. The planner decided to use a circular shape because meals are sharing moments and all the ihnabitants need to see each other. On the background, instead, a big round sofa can be seen; it embraces people sit there, but it also connect them with the landscape outside the window. Interiority, in this way, is declined into the privacy of the family and in the contact with nature.

‘70/interiority/building envelope

T<-' &)"4-' #-M+' +1' +<-' &+">*4"&-' >&' $77-.' 0>+<'"',37+>53#4+>1#"7'53*#>+3*-@'0<>4<'>&'$xed and linked to the walls. This is a space in which people are invited to sit and rest, thanks to the alcove that the low ceiling forms in opposition with the heigh of the room. From this corner, it is possible to observe what happens in the living room without being “exposed�; this offers a sense of protection, typical characteristic of a home.

‘71/interiority/furniture

“A chair is quite capable of formulating &)"4-' "&' "' 41?#>+>B-' $-7.C' [13' &>+' .10#' and, right away, a bubble of isolation surrounds you, that stems from inhabiting”, Walter Pichler. “As a miniature of the house, the ‘wearable chair’ recreates a way of inhabiting, without any architecture”, Gianni Pettena. Interiority here is the chance, given by the chair, to make livable every kind of place; in addition, all the attention goes to the “inhabitant” and that chair.

72‘/interiority/furniture

The architect lived in a period in which prefabrication and standardisation were concept to look at, so he decided to cre"+-'"'&-75H&35$4>-#+'3#>+'+<"+'>&'"'41,)7-+-' home, totally independent from the building envelope. Interiority, domesticity and personalisation, even if a prefabricated unit is considered, are present; in fact, every piece of the project is dismountable and positioned everywhere in the space dedicated to this unit. So, inhabitants can freely take possession of the room and of their “home�, living it in all its possibilities, wherever they are.

‘73/interiority/furniture

Interiority is meant here as a closed relationship between the inhabitants’ needs and what the house can offer to satisfy them; the designer tries to solve the problem thinking about a breakdown of the <13&-' >#+1' .>55-*-#+' "#.' &-75H&35$4>-#+' units, that can be positioned in a generic building envelope depending on what the inhabitants really need, improving their relationship with the house.

‘75/interiority/building envelope

The area in the picture is a boundary space between the inside and the outside of the house; it can be lived in both ways, though the dark panels that surrounds the sofas, want to demonstrate that this space still owns to the inside. The sight can’t look at the landscape, but only the interior of the home. The attention towards the inside, here, means interiority.

‘76/interiority/building envelope

The house is situated in a japanese context characterised by terraced houses on the main street. The project has the particularity not to have doors or windows towards the outside, except the main entrance. This means that the light comes into the house from the big court in the middle of the complex, and that the residential building is opened only towards itself. Interiority here concerns the characteristic of the structure, massive and protective as regards the inhabitants’ privacy.

‘77/interiority/building envelope

This bedroom’s solution is very interesting; in a high space, the architect has been able to create a mezzanine for a second bad; this corner could also be used for relaxing, reading, thinking, isolating, ... . The intimacy of the place is also given by the low heigh of the ceiling there. Interiority is present in this room even in the bed at the main level; it is closed into three sides, so the privacy is almost total.

‘78/interiority/building envelope + furniture

The architect has been able to create an intimate space in a huge room; this effect is given by the comfortable, soft, upholstered sofa, accentuated by a linear shadow that crosses the image. Sitting here, people have the impression to be in the middle of the room, in a privileged position, thanks to which they have the total control of the whole space. At the same time, though, one can have the impression to be alone, because of the dimensions of the main room, in a perfect condition to $#.'>#+-*>1*>+/C

‘79/interiority/furniture

The patio is usually an important part of the american house; in this case, its surface is very big and it can be considered as an extention of the living room. In fact, it is furnished as it is an interior; upholstered sofas, an armchair and telephones. The architect has also created a little private corner, where there is the possibility to talk with visitors or isolate oneself, carrying out the interiority, typical element of the inside spaces.

‘79.1/interiority/furniture

The architect has been asked to plan a new type of hotel dedicated to travellers, +1' 7-+' +<-,' *-&+' 6-+0--#' +01' O>?<+&C' Q-' has been able to build a space where ev-*/'47>-#+'4"#'$#.'<>&'>#+>,"4/'"#.')*>B"4/@' since every cell can be completely closed and isolate. Everyone can think for a while just about oneself and about one’s interiority, even if they are far away from home.

‘82/interiority/furniture

The particularity of this interior is the high chair on the right of the picture; in fact, this element is settled at the end of a little staircase, in a corner of the room. From there, inhabitants can observe the room on a priviledged spot, concentrating the "++-#+>1#'<-*-C'T<-'$*&+'+<13?<+&'15'"'B>&>tor would be to try the chair, improving the relationship between the room and theirselves, in one word, interiority.

‘83/interiority/building envelope

In this image there are two elements that 41#4-*#' >#+-*>1*>+/' "#.' >#+>,"4/I' $*&+' 15' "77@'+<-'6-.'"+'+<-',">#'O11*'>&'>#'"'#>4<-C' The only open side let the young woman for which is planned the apartment to go sleeping. This bedroom carries perfectly out the main function that a bedroom should always have: make the user feel protected. Second, the low mezzanine used as private living room, gives the possibility to look down into the room without being observed; this corner is very private, no one can visit it without the explicit permission of the owner. Additionally, the ceiling painted as if it is a cloudy sky contributes to turn the room into a fairy space; it is very interesting the prospective on this ceiling that people can have when they climb the ripid staircase to reach the mezzanine. In fact, it seems to reach the sky.

‘83.1/interiority/furniture

(+'+<-'$*&+'&>?<+'1#-'4137.'+<>#2'>+'>&'"'0">ting room for a Spa or something similar; it could be a surprise to read, instead, that +<>&'>&'"'$++>#?'51*'"'5"&+'511.C'T<-'>.-"'15' the planner was to make this space as domestic as possible, by lighting the sittings and inviting people to use them. Maybe, since the project is for a fast food, the purpose, by contrary, is to let people sit as long as possible, as they are dining comfortably at home.

‘84/interiority/furniture

I think that to put a chair in an open landscape and feel part of it, is one of the 6-&+'0"/'+1'$#.'1*'$#.'"?">#'1#-&-75C'W#+-riority, in this case, is not turned to an interior space, but to one’s person.

‘85/interiority/building envelope

In this bedroom, a niche in the wall has been gained between two wardrobes; here a little sofa has been positioned to let the bedroom’s owners have a little corner of extreme privacy and interiority, because the main bed in the middle of the room, a sort of podium, doesn’t admit very much privacy. Even if this niche has a high ceiling, the sense of protection here is very strong.

‘86/interiority/furniture

T<>&'$++>#?'1#'+<-'6-"4<'<"&'6--#',".-'+1' present the readers of the magazine new produced furniture; the interesting thing is that visitors can freely sit on these sittings and look at the beach in its entirely, thinking, meditating. In my opinion, the presence of typical elements of a house turns this open space in an interior, very comfortable and livable, since the attention is concentrated only on the sitting and the person on it.

‘86.1/interiority/furniture

T<>&' $++>#?' )-*5-4+7/' *-O-4+&' +<-' 1)>#>1#' of Brayer, explained in the paper; in fact, this empty room, with a matress and some lights is immediately inhabitable. All the attention is concentrated on the bed and on the person on it, thank to the lights oriented in that direction. Obviously, to obtain a feeling of protection, the matress isn’t in the middle of the room, but in one corner, to have only two sides towards the room. T<>&' &-#&-' 15' )*1+-4+>1#' >&' >#+-#&>$-.' 6/' the little heigh of the bed: the sleeper’s back is almost directly in contact with the ground.

‘87/interiority/furniture

This room is located just besides the main entrance of the house; here there is the &+">*4"&-' +<"+' 7-".&' 1#' +<-' &-41#.' O11*C' T<-'&)"4-'3#.-*'+<-'&-41#.'O>?<+'15'+<>&' element is used as sittings, very usefull when guests have to wait for the inhabitants to come. It also is an isolate corner in a bigger room, not very common; this aspect makes attractive the space and peolple are invited to try the comfort of the wooden elements.

‘88/interiority/building envelope

The architect decided to use the space 6-+0--#'+<-'+01'O>?<+&'15'&+">*&'"&'"'&>+ting place; in general, this corner is useless, but in this way inhabitants can live a space which could had been considered lost. In addition, sitting there can offer the inhabitants a different prospective on their home, feeling safe because of the high chair back. The presence of a plant makes the corner more liveable, too.

‘89/interiority/building envelope

In this japanese hotel, a little tea-room has been obtained in a corner of a big corridor; it is completely isolable, even though the contact with nature and the rest of the house is mainteined thank to glass-walls. This space has been thought to let clients enjoy the typical tea ritual of Japan, but also a personal moment in solitude, even if they are in a public space.

‘90/interiority/building envelope

The whole living room is made by wood with a light colour but warm; this is the main element that offers the room a sense of domesticity. Interiority, instead, is obtained thanks to the bench under the window, protected on its sides by two wooden panels; from here, there is the possibility to observe the whole room from a priviledged position, so that people and inhabitants are invited to sit here.

‘91/interiority/furniture+building envelope

The living room of the house in the picture is very big; that’s why the architect decided to create a more private corner with a lower ceiling on a side of the room. People are invited to discover this space and stay here. Two tables settled as boundary between the main space and the conversation spot, protect the sofas. Interiority here is meant as privacy and intimacy that invite inhabitants to live the spot.

‘92/interiority/building envelope

The interiority of the house stays in its characteristic of closing. In fact, all the contacts with the outside are eliminated, to improve the relationship between the inhabitants and their home. So, they are invited to live the spaces in a very intensive way, and experiment all the possibility of use that the house can offer them.

‘93/interiority/furniture

Pawson’s minimalist style is easily recognisable in this picture; it represents the essential furniture of a living room. The architect wants to demonstrate that a space 4"#' 6-' .-$#-.' 1#7/' 6/' +01' -7-,-+&V' "' comfortable chair and a punctual light. The attention of the visitor is immediately captured by this couple of elements. The project corresponds to the sentence of Brayer presented in the paper: “a chair is immediately inhabitable, a symbol of the dwelling”.

‘94/interiority/building envelope/furniture

In this project, interiority is given by the high level of personalization of the vertical space. In fact, the image represents only one way to arrange the home. The project gives the inhabitants the possibility to express himself through the organization of his space; it is a good way to feel the domesticity of the living area and create a real connection with the house.

‘95/interiority/building envelope

The interior in the picture is almost plane and simple; furniture are few, the richness of the room is obtained through details, as for example the little niche on the right of the picture; it is protected by walls, but it is completely liveable, thanks to a big skylight. This corner is a sort of second liv>#?'*11,I'+<-'$*&+'1#-'>&'+<-'6>?'*11,'+<"+' occupies almost all the photo. It is turned to the outside, because of the big windows. The second one, instead, is turned to itself, representing the interiority of the whole room.

‘96/interiority/building envelope

Some apartments of this building have a ,-JJ"#>#-' O11*@' +<"+' 4"#' 6-' 3&-.' 51*' "77' the activities; but, in my opinion, spaces like that are particularly convenient for intellectual and individual activities, regarding interiority and intimacy. In fact, windows are turned to the sky; light is necessary, but the attention has not to be attracted to the city below, to preserve this sense of protection, also increased thanks to clear colours.

‘97/interiority/building envelope

The low wooden ceiling of this house gives the inhabitants a sense of protection. The interesting characteristic of this room is that the bearing structure is used to create equipped walls; this aspect is a way +1')3&<'+<-'>#<"6>+"#+&'+1'3&-'"#.'$+'+<-' strange shelves with objects of their life, transforming a simple wall in a space that can tell the story of the owners to visitors. Interiority is expressed here through the personalisation of the bearing structure and through the link that this action can create between the house and the users.

‘98/interiority/building envelope

This bedroom represents a high form of interiority; the double bed is positioned in a niche, completely closed on 5 sides, there is just the space to get on it. Protection and intimacy are evidently part of this project, helped by the warm colour of the wood, everywhere inside the room.

‘99/interiority/furniture+building envelope

In this japanese-style house, the little corner shown in the picture is used by the owners as a study. This space is protected by a big wardrobe and a charcoal burner. To use the table, the inhabitants have to sit on +<-'O11*@'63+'+<-/'4"#')3+'+<->*'7-?&'>#'"'#>che under the plan, being, in this way, very comfortable. While sit on this particular 6-#4<@'0<>4<'>&'>#'*-"7>+/'+<-'O11*@')-1)7-' have the impression to be in the building envelope, feeling protected by the structure of their house. Interiority is represented by this particular relationship between the home and its inhabitants.

‘00/interiority/personal interpretation: furniture+building envelope

As personal interpretation, I imagined a bedroom in a house on the seaside. I tried to combine the two interpretations I gave +1'+<-'01*.'W#+-*>1*>+/C'T<-'$*&+'1#-@',1*-' public, is represented by the sofa corner with soft pillows that can be arranged in different ways, to invite the inhabitant to live this spot in different occasions; the sofa is turned to the inner space of the bedroom, with no contact with the outside, to improve the link between the user and the house. The second interpretation is represented by the bed corner, where the connection with the outside is evident; this spot is made for meditation and private activities that need for privacy. Privacy, in fact, is given by the matt glass, that improves a sense of protection, but at the same time allows the inhabitant to look all over his bedroom from a priviledged position, on a sort of podium.

REFERENCES

‘00: Mackintosh house, Glasgow, Scotland, (Great Britain) Charles Rennie Mackintosh from: http://www.hunterian.gla.ac.uk/collections/art_gallery/mac_house/bedroom. shtml ‘01: Hvittrask Villa, Hvitrask (Finland) Eliel Saarinen from: http://content.lib.utah.edu/ cdm4/item_viewer.php?CISOROOT=/ coa&CISOPTR=1550 ‘01.1: Craftsman House, illustration for the Craftsman Magazine Gustav Stickley from: http://www.craftsman-style.info/ homes/architecture.htm ‘02: Boke House, Berkley, California (USA) Bernard Maybeck from: http://www.ArchitectureWeek.com/ cgi-bin/awimage?dir=2001/0328&article= culture_2-1.html&image=11339_image_1. jpg ‘03: Mackintosh Building, Comrie, Perthshire (Great Britain) Charles Rennie Mackintosh from: http://www.mylandmarks.me.uk/ html/mackintosh_building.html

‘04 (end): Hill House, Helensburg (Great Britain) Charles Rennie Mackinosh from: http://www.shafe.co.uk/art/ Charles_R-_Mackintosh_Hill_House-_ bedroom-_Glasgow_1903.asp ‘05: Casa Batllò, Barcelona (Spain) Antoni Gaudì from: http://digilander.libero.it/elliy.writer/ Casa%20Batllo3-elliyfoto.JPG ‘07: Babson House, Riverside, Illinois (USA) Louis Sullivan from: http://www.GreatBuildings.com/ cgi-bin/gbi.cgi/Babson_House.html/ cid_1138858691_250083v.html ‘08: Coonley House, Riverside, Illinois (USA) Frank Lloyd Wright from: http://pc.blogspot.com/2008/10/ avery-coonley-house-frank-lloyd-wright. html ‘09: Gamble House, Pasadena, california (USA) Henry and Charles Green from: http://www.gamblehouse.org/photos/index.html ‘10: Villa Garnier, Saint Rambert (France) Tony Garnier from: Alex Thomas Anderson, “The prob-

lem of the house: French domestic life and the rise of modern architecture”, Washington, University of Washington Press, 2006 ‘11: Taliesin, Spring Green, Winsconsin (USA) Frank Lloyd Wright from: http://content.lib.utah.edu/ cdm4/item_viewer.php?CISOROOT=/ coa&CISOPTR=4351 ‘12: Scheu House, Wien (Austria) Adolf Loos from: http://www.architonic.com/ntsht/adolf-loos/7000419 ‘13: 48 Storey’s Way, Cambridge (Great Britain) Mackay Hugh Baillie Scott from: V.V. A.A., “The house book”, London, Phaidon, 2001, p. 31 ‘14: Dugout Houses, Coober Pedy Miners, Coober Pedy (Australia) Unknown from: V.V. A.A., “The house book”, London, Phaidon, 2001, p. 84 ‘15: Imperial Hotel, Tokyo (Japan) Frank Lloyd Wright from: http://upload.wikimedia.org/wikipedia/commons/5/54/Imperial_Hotel_FFW_6. jpg

‘16: Study for a bedroom in Villa Schwob, La Chaux-de-Fond (France) Le Corbusier from: Max Risselada, Beatriz Colomina, “Raumplan versus Plan Libre : Adolf Loos and Le Corbusier, 1919-1930”, New York, Rizzoli, 1988, p. 22 ‘17: Niche with sofas, drawing in “Harmonies; interieurs de Ruhlmann”, eidted by Jean Badovici, Editions Albert Morancé, Paris, 1924 Emile Jacques Ruhlmann from: http://www.ruhlmann.info/interiors. php/t,Interiors ‘18: Niche with bathtub, drawing in “Harmonies; interieurs de Ruhlmann”, eidted by Jean Badovici, Editions Albert Morancé, Paris, 1924 Emile Jacques Ruhlmann from: http://www.ruhlmann.info/interiors. php/t,Interiors ‘19: Hollyhock House, East Hollywood, Los Angeles, California (USA) Frank Lloyd Wright from: http://4.bp.blogspot.com/_6-IIXAF5HOE/R0mFyTg3JWI/AAAAAAAABuk/ zfY2_iyt7C0/s1600-h/HollyhockHouse.jpg ‘20: Niche with triclinium, drawing in “Harmo-

nies; interieurs de Ruhlmann”, eidted by Jean Badovici, Editions Albert Morancé, Paris, 1924 Emile Jacques Ruhlmann from: http://www.artistsandart. org/2009/10/emile-jacques-ruhlmannfrench-designer.html ‘21: Chase House, West Hollywood, California (USA) Rudolf Schindler from: http://aftercorbu.com/wordpress/wpcontent/uploads/2008/01/schindlerhouse. jpg ‘22: Mason d’une artiste, Paris (France) Le Corbusier from: http://www.lablog.org.uk/category/ case-studies/ ‘23: Bedroom for a lady, drawing in “Harmonies; interieurs de Ruhlmann”, eidted by Jean Badovici, Editions Albert Morancé, Paris, 1924 Emile Jacques Ruhlmann from: http://www.artistsandart. org/2009/10/emile-jacques-ruhlmannfrench-designer.html ‘24: Niche, drawing in “Harmonies; interieurs de Ruhlmann”, eidted by Jean Badovici, Editions Albert Morancé, Paris, 1924 Emile Jacques Ruhlmann

from: http://www.artistsandart. org/2009/10/emile-jacques-ruhlmannfrench-designer.html ‘25: Chambre de Dame, Paris (France) Maurice Dufrène from: http://digitalgallery.nypl.org/nypldigital/dgkeysearchdetail.cfm?trg=1&strucID =170128&imageID=96392&total=105&nu m=20&parent_id=169636&word=&s=&not word=&d=&c=&f=&k=0&sScope=&sLevel \]&^"6-7\]701*.\]7$-7.\]>,?&\PL])1& =35&snum=&e=w ‘26: Moller House, Wien (Austria) Adolf Loos from: http://www.architonic.com/ntsht/ adolf-loos/7000419 ‘27: Mel’nikov House, Moscow (Russia) Konstantin Stepanovich Mel’nikov from: http://isdjustyna2.blogspot. com/2010/01/krivoarbatsky-lane-in-moscow-konstantin.html ‘28: Maison de Verre, Paris (France) Pierre Chareau from: Presentation “La Maison de Verre”, Laboratorio di Progettazione dell’Architettura 3, Prof. I. C. Forino, 19 10 - 2010

‘29: Paimio Sanatorium patient’s room, Paimio (Sweden) Alvar Aalto from: “Civilisation of living; the evolution of European domestic interiors”, edited by Roberto Rizzi, Edizioni Lybra Immagine, Milano, 2003, p. 106 ‘30 (end): Tugendhat House, Brno (Czech Republic) Ludwing Mies van der Rohe from: http://www.nytimes.com/2007/03/22/ garden/22mies.html?_r=1 ‘31 (end): Ville Savoye, Poissy (France) Le Corbusier from: http://tanishaameen.blogspot. com/2009/03/images-of-villa-savoye-bathroom.html ‘32: Villa Necchi Campiglio, MIlan (Italy) Piero Portaluppi from: http://viaggi.globopix.net/blogperviaggiatori/wp-content/uploads/2010/08/ villa2.jpg ‘33 (end): Immeuble Molitor, Paris (France) Le Corbusier from: Presentation “La casa-atelier”, Laboratorio di Progettazione dell’Architettura 3. Prof. I. C. Forino, Milan, 9 - 11 - 2010

‘34: Villa Figini, Milan (Italy) Luigi Figini and Gino Pollini from: “Interni” magazine, n. 398, March 1990, p. 71 ‘35: ;1"+-&%&'O"+@'[-1,"#%&'N10@'_#>?<+&bridge, London (Great Britain) Wells Coates from: http://designmuseum.org/design/ wells-coates ‘36: Fallingwater house, Bear Run, Pennsylvania (USA) Frank Lloyd Wright from: http://commons.wikimedia.org/wiki/ File:Frank_Lloyd_Wright_-_Fallingwater_interior_7.JPG ‘37: Wingspread, Wind Point, Wisconsin (USA) Frank Lloyd Wright from: http://www.galenfrysinger.com/racine_wingspread.htm ‘38: Ensemble 1, Paris (France) Lucie Renaudot from: http://www.grabink.com/asp/gallery. asp?category=int ‘39 (end) Villa Mairea, Noormarkku (Finland) Alvar Aalto from: http://educ.jmu.edu//~tatewl/AAL-

TO/11.aalto.mairea.int.jpg ‘40: Malaparte House, Capri (Italy) Adalberto Libera from: Roberto Schezen, “Masterpieces of the Twentieth Century”, New York, The Monacelli Press, 1998 ‘40.1: !"#$%&'()"*+,-#+@'`>7"#'DW+"7/F a>"#'^3>?>'!"#$ from: “Domus” magazine, n. 148, April 1940, p. 31 ‘42: Kelton Apartments, Westwood, Los Angeles, California (USA) Richard Neutra from: Gianni Ottolini, Vera de Prizio, “La casa attrezzata”, Napoli, Liguori Editore, 1993, p. 32 ‘43: Jacobs House, Middleton, Winsconsin (USA) Frank Lloyd Wright from: http://0.tqn.com/d/architecture/1/0/ a/t/JacobsHouse_Interior.jpg ‘44: Image from the article “A man comes home tired after a long day at work and $#.&'"#'3#41,51*+"67-'"*,4<">*b Bruno Munari from: “Domus” magazine, n. 202, October 1944, p. 243

‘45: X",-&'Q13&-@'c"4>$4'c"7>&".-&@';"7>51*nia (USA) Charles and Ray Eames from: Deyan Sudjic, Tulga Beyerle, “Home, the twentieth-centurt house”, London, Laurence King Publishing, 1999, p. ‘46: Bridal Suite at the Westerner Motor Hotel, Arcadia, California (USA) Unknown from: John Margolies, “Home away from home, motels in America”, New York, !37$#4<'c*-&&@'KddU@')C'UK ‘47: Endless House Frederick Kiesler from: http://boiteaoutils.blogspot. com/2009/09/endless-house-of-frederickkiesler.html ‘48 Standard of Living Package Robert Buckminster Fuller from: http://3.bp.blogspot.com/_ Xw44UYbT2ZI/TPbaWL1aKkI/ AAAAAAAAADo/Lr8Cxlm-HVk/s1600/ standard+of+living+model.jpg ‘49: Glass House, New Canaan, Cunnecticut (USA) Philippe Johnson from: http://www.slate.com/id/2221395/

slideshow/2221871/ ‘50: Bavinger House, Norman, Oklahoma (USA) Bruce Goff 5*1,V'<++)Vee000CO>42*C41,e)<1tos/33907095@N06/4161913232 ‘51: Glass House, San Paolo (Brazil) Lina Bo Bardi from: http://www-etsav.upc.es/urbpersp/ num10/art10-5.htm ‘52: Le Cabanon, Cap-Martin (France) Le Corbusier from: http://calero.laopinion.es/wp-content/uploads/2009/03/cabanon-le-corbusier.jpg ‘53: Niemeyer House, Rio de Janeiro (Brasil) Oscar Niemeyer from: http://mcculleydesign.posterous. com/?tag=architecture&page=3 ‘54: One room lodging, Milano (Italy), X Triennale Gio Ponti from: “Civilisation of living; the evolution of European domestic interiors”, edited by Roberto Rizzi, Edizioni Lybra Immagine, Milano, 2003, p. 158

‘55: Fawcett House, Los Banos, California (USA) Frank Lloyd Wright from: http://freshome.com/2009/03/31/ fawcett-house-lavish-ranch-styled-homewith-an-oriental-touch/ ‘56: La Tourette, Eveux-sur-Arbresle, Lyon (France) Le Corbusier 5*1,V'<++)Vee000CO>42*C41,e)<1+1&e dis-section/2675371220/sizes/l/in/photostream/ ‘57: Egg, Bonacina Nanna Ditzel from: http://www.lux.it/open2b/design/ Lux%20v2/Lux//en/product/3446/ Furnishing-Accessories-BONACINAPIERANTONIO,-COLORE-WILLOW.EGG-chair-Cabinet,-Wicker-structureand-seat-fabric.-Steel.html ‘58: House in Sabana de Bogotà, Bogotà (Colombia) Loli Obregon from: Bnjamin Villegas, “Casa Moderna: half a century of colombian domestic architecture”, Bogotà, Villegas Editores, 1996 ‘59: Case Study House n. 22, Los Angeles,

California (USA) Pierre Koenig 5*1,V'<++)Vee1*<"#4-,4-+>#C$7-&C01*.)*-&&C com/2010/11/shulman1.jpg ‘60: Fisher House, Philadelphia, Pennsylvania (USA) Louis Kahn 5*1,V'<++)Vee000CO>42*C41,e)<1tos/54585116@N08/5047241233/sizes/l/ in/photostream/ ‘61: Box for standing, Sonnabend Gallery, New York (USA) Robert Morris from: http://www.mariabuszek.com/ucd/ ContemporaryArt/Exam2.1.htm ‘62: Guffanti House, Milan (Italy) Ico Parisi from: “Civilisation of living; the evolution of European domestic interiors”, edited by Roberto Rizzi, Edizioni Lybra Immagine, Milano, 2003, p. 180 ‘62.1: Moore House, Orinda, California (USA) Charles Moore from: Gianni Ottolini, Vera de Prizio, “La casa attrezzata”, Napoli, Liguori Editore, 1993, p. 208 ‘64 (end): Vanna Venturi House, Chestnut Hill, Phila-

delphia, Pennsylvania (USA) Robert Venturi from: http://www.essential-architecture. com/A-AMERICA-N/USA/USA-Northeast/NT-017.htm ‘65: Room for making love, Florence (Italy) Ettore Sottsass from: “Civilisation of living; the evolution of European domestic interiors”, edited by Roberto Rizzi, Edizioni Lybra Immagine, Milano, 2003, p. 186 ‘66: House in Via Paravia, Milan (Italy) Umberto Riva from: http://www.lablog.org.uk/category/ lab1-06/page/2/ ‘67: Superonda Sofa, Poltronova Archizoom Associati from: http://www.poltronova.com/catalogo1/index_con_links.html ‘68: ;-#+*""7'!-<--*'=5$4-'!3>7.>#?@'()-7doorn (Netherlands) Hermann Hertzberger from: http://i-ryanchen.blogspot. 41,ePLKLeKLe<-*,"#H<-*+J6-*?-*15$4-H building.html ‘69: Villa Spies, Toro (Sweden) Staffan Berglund

from: http://www.cabinetmagazine.org/ issues/13/sewell.php ‘70: 22nd Street Loft, New York (USA) George Ranalli from: Presentation “Interiorscapes”, Laboratorio di Progettazione dell’Architettura 3. Prof. I. C. Forino, Milan, 26 - 10 - 2010 ‘71: Wearable Chair, Gianni Pettena’s performance realized with his students of Minneapolis College of Art and Design, Minneapolis, Minnesota (USA) Gianni Pettena 5*1,V'<++)Vee000CO>42*C41,e)<1+1&e+3&canyarts/4453693521/sizes/o/in/photostream/ ‘72: Total Furnishing Unit, “New domestic landscape” exhibition, New York Museum of Modern Art (USA) Joe Colombo from: http://www.museum-joanneum.at/ 3)71".e$7-eT1+"7:PLf3*#>&<>#?:PLg#>+:K:C jpg ‘73: Containers System, MOMA, New York (USA) Ettore Sottsass from: Gianni Ottolini, Vera de Prizio, “La casa attrezzata”, Napoli, Liguori Editore, 1993, p. 98

‘75: House VI, West Cornwall, Connecticut (USA) Peter Eisenman from: http://www.designbuild-network. com/features/feature2169/feature2169-3. html ‘76: Azuma House, Osaka (Japan) Tadao Ando from: http://www.youdesign.tv/wp-content/uploads/2010/12/20101222_tadao_ ando_8.jpg ‘77: Dwelling for a young woman, Milan (Italy) Cini Boeri from: “Civilisation of living; the evolution of European domestic interiors”, edited by Roberto Rizzi, Edizioni Lybra Immagine, Milano, 2003, p. 202 ‘78: Koshino House, Ashiya, Kobe (Japan) Tadao Ando 5*1,V'<++)Vee000CO>42*C41,e)<1+1&e*">mist/3875050857/ ‘79 (end): Gehry House, Santa Monica, California (USA) Frank Gehry from: Deyan Sudjic, Tulga Beyerle, “Home, the twentieth-centurt house”, London, Laurence King Publishing, 1999,

p. 89 ‘79.1: Capsule Inn Hotel, Osaka Airport (Japan) Kisho Nokiari Kurogawa from: http://aggregated.soup.io/tag/capsule ‘82: Mendini’s Apartment, Milan (Italy) Alessandro Mendini from: “Domus” magazine, n. 624, January 1982, p. 226-227 ‘83: Monolocale per signora Alessandro Colbertaldo from: “Interni” magazine, n. 334, October 1983, p. 12 ‘83.1: Fitting for “La XVII Triennale di Milano” 1983 - 1988 Denis Santachiara from: “Interni” magazine, n. 357, January/ February 1986, p. 30 ‘84: Fitting for a Thonet chair, Marche (Italy) M&M from: “Interni” magazine, n. 363, September 1986, p. 46 - 47 ‘85: House for a couple, Stockholm (Sweden) Stefan Alenius, Magnus Silfverheim, Jonas Ahlund

from: “Interni” magazine, n. 346, October 1986, p. 6 ‘86: Fitting by Maria Luisa Brighenti for “Interni” magazine Maria Luisa Brighenti from: “Interni” magazine, n. 363, September 1986, p. 46-47 ‘86.1: Fitting for “Light system Ya Ya” Ingo Maurer from: “Interni” magazine, n. 359, April 1986, p. 47 ‘87: Qualia House, Nagoya, Aichi Prefecture (Japan) Takasaki Monobito Institute from: “The Japan Architect” magazine, n. 391/392, November/December 1989, p. 80 ‘88: House as a readied stage, Ashiya, Hyogo Prefecture (Japan) Yasutaka Yamazaki + AZ Institute from: “The Japan Architect” magazine, n. 387, June 1989, p. 34 ‘89: Hotel, Ashigarashimo-gun, Kanagawa (Japan) Amorphe Architects and Associates from: “Interni” magazine, n. 391/392, Novembre/December 1989

‘90: Davis’ House, Eugene, Oregon (USA) Howard Davis from: http://www.GreatBuildings.com/ cgi-bin/gbi.cgi/Davis_House.html/ cid_2977929.html ‘91: Greenberg House, Los Angeles (USA) Riccardo Legorreta from: Kenneth Frampton, “Capolavori dell’architettura americana: la casa del XX secolo”, Milano, Rizzoli, 2002 ‘92: Gaspar House, Zahora (Spain) Alberto Campo Baeza 5*1,V'<++)Vee000CO>42*C41,e)<1+1&e campobaeza/442021359/sizes/o/in/set72157600040086168/ ‘93: Rothman Apartment, London (Great Britain) John Pawson from: “Civilisation of living; the evolution of European domestic interiors”, edited by Roberto Rizzi, Edizioni Lybra Immagine, Milano, 2003, p. 226 ‘94: Vertical Home, Interieur ’95, Kortrjik, (Belgium) Andrea Branzi from: Presentation “spazi di riposo e di lavoro 3”, Laboratorio di Progettazione dell’Architettura 3. Prof. I. C. Forino, Milan,

15 - 10 - 2010 ‘95: Single Family House, Oslo (Norway) Knut Hjeltnes Architects from: Deyan Sudjic, Tulga Beyerle, “Home, the twentieth-centurt house”, London, Laurence King Publishing, 1999, p. 172-173 ‘96: Miss Sargfabrik, Wien (Austria) Johann Winter, Franz Sumnitsch (BKK 3) from: “Civilisation of living; the evolution of European domestic interiors”, edited by Roberto Rizzi, Edizioni Lybra Immagine, Milano, 2003, p. 238 ‘97: House n. 21, Setagaya (Japan) Naito Architects and Associates from: http://www.naitoaa.co.jp/090701/ works/top/top.html ‘98: Tampa Skull, Collection Les Abattoirs, Toulouse (France) Atelier van Lieshout from: http://www.ateliervanlieshout.com/ works/tampaskull.htm# ‘99: Brackett House, (USA) Len Brackett from: Peggy Landers Rao, Len Brackett, “Building the Japanese house today, New York, Harry N. Abrams Inc., 2005, p. 28

INTERIOR WOR(L)DS. This work, realized by Marta Benedetti, student of the “Interiors Architecture� class 2010 - 2011, 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 1999; the 100th image had to be a personal interpretation of the chosen word. INTERIORITY. Interiority is the quality of being inward. This could be a characteristic of the house or an attitude of the inhabitants towards themselves or towards their living !"#$%&'()'*+%',-!*'$#!%.'*+%'+/0%'()1(*%!'"%/"2%'*/'3(!$/1%-.'!+#-%'#)3'2(1%'#22'(*!'$/-)%-!.' even the most unexpected, through niches, upholstered furniture, little private spots, in the second case, the user looks for a particular and intimate connection with the house to create a link between himself and the outside landscape or to discover his inner character. The Atlas has been divided into three main categories (furniture, building envelope, furniture+building envelope) depending on what elements in the house can facilitate the -%4%5(/)!'%5"2#()%3'#6/1%7

Image: Murakami Chair designer: Jacob Rochus

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