interiority

INTERIORITY

Interiorityby Marta Benedetti

Didactic exercise

Fall Semester

2010

Interior worlds: interiority

Main Editor

Gennaro Postiglione

Course of Interior Architecture

Faculty of Architettura e Societ

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 Battl

07_Babson House

08_Coonley House

09_Gamble House

10_Villa Garnier

11_Taliesin

12_Scheu House

13_48 Storeys Way

14_Dugout Houses

15_Imperial Hotel

16_Study for a bedroom in Villa Schwob

17_Niche with sofas

18_Niche with bathtub

19_Hollyhock House

20_Niche with triclinium

21_Chase House

22_Maison dune artiste

23_Bedroom for a lady

24_Niche

25_Chambre de Dame

26_Moller House

27_Melnikov House

28_Maison de Verre

29_Paimio Sanatorium

30_Tugendhat House

31_Ville Savoye

32_Villa Necchi Campiglio

33_Immeuble Molitor

34_Villa Figini

35_Coates Flat

36_Fallingwater house

37_Wingspread

38_Ensemble 1

39_Villa Mairea

40_Malaparte House

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

42_Kelton Apartments

43_Jacobs House

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

45_Eames House

46_Westerner Motor Hotels bridal suite

47_Endless House

48_Standard of Living Package

49_Glass House, P. Johnson

50_Bavinger House

51_Glass House, L. Bo Bardi

52_Le Cabanon

53_Niemeyer House

54_One room lodging

55_Fawcett House

56_La Tourette

57_Egg

58_House in Sabana de Bogot

59_Case Study House n. 22

60_Fisher House

61_Box for standing

62_Guffanti House

62.1_Moore House

64_Vanna Vneturi House

65_Room for making love

66_House in Via Paravia

67_Superonda Sofa

89:;-#+*""7'!-7.>6?

69_Villa Spies

70_22nd Street Loft

71_Wearable Chair

72_Total Furnishing Unit

73_Containers System

75_House VI

76_Azuma House

77_Dwelling for a young woman

78_Koshino House

79_Gehry House

79.1_Capsule Inn Osaka

82_Mendinis Apartment

83_Monolocale per signora

83.1_Fitting for Milano Triennale

84_Fitting for a Thonet chair

85_House for a couple

86_Fitting by Maria Luisa Brighenti

86.1_Fitting for Light system Ya Ya

87_Qualia House

88_House as a readied stage

89_Hotel Ashigarashimo-gun

90_Davis House

91_Greenberg House

92_Gaspar House

93_Rothman Apartment

94_Vertical Home

95_Single Family House,

96_Miss Sargfabrik

97_House n. 21

98_Tampa Skull

99_Brackett House

00_Personal Interpretation

If considering our sensuous perception of space we intuitively recognize the cruciali-ty of Mario Prazs notion that in its capacity as a molded gesture to the human body, the softness of interior furnishing precon-ditions our experience of a place as home: a soft interiority without which the hu-man soul would feel like a snail without its shell, and which it is our claim can be rediscovered as a spatial discipline interre-lating that of architecture and furniture ma-king in the precisely orchestrated interiors of, for example, Charles Rennie Mackinto-sh, Adolf Loos, Le Corbusier, Frank Lloyd Wright, Rudolf Schindler, Alvar Aalto and Sverre Fehn. In the sensuousness of the-se 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 disre-garded within the practical realm of con-struction. Here the particular technologi-4"7@'$#"#4>"7'"#.'47>,"+>4'+*"#&51*,"+>1#&'affecting contemporary society are in fo-cus 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 inte-riority. Consequently, the goal of this paper is to investigate how the perceived interiority of these works, having survived into the pre-sent, can be activated in a future positio-ning of interiority as a theory and metho-dology for transforming construction into home.

Interiorityby Marie Frier

Abstract

Using our senses we intuitively recog-nize the inviting interiority of the precisely orchestrated interiors of, for example, Mackintosh, Loos, Le Corbusier, Wright, Schindler, Aalto and Fehn. In the sensu-ousness 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 engage-ment 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. Conse-quently, this paper investigates whether the perceived interior qualities of the previ-ously mentioned works can be articulated and activated as principles in a future po-sitioning of interiority within todays 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, sig-nifying home.The increasingly complex processes af-fecting society today pose new demands on architectural practice. Especially within domestic architecture, where prefab pro-cesses have for over a century been envi-sioned as the means for achieving a gen-eral improvement of the ordinary dwelling, the sensuous furnishing aspects of ar-chitecture are often pushed in the back-ground, leaving the produced houses as raw constructions rather than sensuous inviting homes. (2) Consequently, is seems that one of the greatest challenges for ar-chitecture as a discipline is to increase our involvement with industry, herein our abili-ty to actualize, communicate, and develop the sensuous aspects of home within the

Paper

processes preconditioning practice. The A3-&+>1#' >&@' #')*-4>&-7/'.-$#-.'#>4#@'$*&+'1#'the concept of furniture, hereafter on the 63>7.>#?' -#B-71)-' "#.' $#"77/' +*' >#+-*-relation, interiority, using Corbusiers Villa Stein as an analysis-example. (8)

FurnitureAs described by Lucie-Smith there ex-ist an endless number of furniture vari-ations, 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 bod-ies and possessions to use the words 15'(6-*4*1,6>-@'0#' $?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 en-counter. 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 be-tween chair and house.

Building envelopeIn opposition to the mobility of furniture the building envelope once erected is >#' ?-#-*"7' $M-.C' N"+1#'+773&+*"+-.'>#'$?C'SC'T#'O11*'"#.'*115@'4*-"+>#?'"'B>&3"7'contact to the storey below. One exam-ple is how the seat created by the shelf directs the inhabitants attention towards the small window opposite the seat. An-other is how the shelf wraps around the wall to the right creating a cavity serv-ing 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 trouv, (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 con-structing 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.

DiscussionIn returning to our examples, the works of Mackintosh, Loos, Le Corbusier, Wright,

Schindler, Aalto and Fehn, we can con-clude that they do not solely represent an exclusivity unknown of the ordinary dwelling; they also contain precise and prosaic principles of interiority, thus ,"2>#?'+

References

Abercrombie, Stanley. 1990. A Philosophy of

Interior Design. New York: Harper&Row Pub-

lishers.

Arieff, Allison, and Bryan Burkhart. 2003. Pre-

fab. Salt Lake City: Gibbs Smith.

Arnheim, Rudolf. 1977. The Dynamics of Archi-

tectural Form. Berkeley, London: University of

California Press.

Brayer, Marie-Ange, and Batrice Simonot.

2002. ArchiLabs Futurehouse: Radi-

cal Experiments in Living Space. London:

Thames&Hudson.

Herbert, Gilbert. 1984. The Dream of the Fac-

tory-made House: Walter Gropius and Konrad

Wachsmann. Cambridge, Mass., London: the

MIT Press.

Lucie-Smith, Edward. 1979. Furniture: A Con-

cise History. The World of Art Library. London:

Thames&Hudson.

Praz, Mario. 1964. An Illustrated History of Inte-

rior 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.

Taylor, Mark, and Julieanna Preston, eds. 2006.

INTIMUS: Interior Design Theory Reader.

Chichester: John Wiley&Sons.

Unwin, Simon. 2003. Analysing Architecture.

London: Routledge.

von Meiss, Pierre. 1998. Elements of Archi-

tecture: From Form to Place (1990). London:

E.&FN. Spon.

von Vegesack, Alexander, Stanislaus von Moos,

Arther Regg, and Mateo Kries. 2007. Le Cor-

busier, the Art of Architecture. Weil am Rhein:

Vitra Design Museum.

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>+&.-'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 dril-led wall and furniture, anticipate the ele-ments of the garden. In this way, the two spaces are not directly connected; from the balcony, the inhabitants can contem-plate and taste the nature that they will di-scover 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 lo-cation.

01/interiority/building envelope

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 furni-ture, the wood used to build the house but also to decorate it and to create the fur-niture, 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*4"&-' >&'used in this house to create a very intimate 41*#-*C'T


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


In this house, Mackintosh wanted to cre-"+-'"'&1*+'15'#-&+'51*'+

This apartment is special, its unique. This aspect can help in feeling it yours. The irregularity of the bearing structure is set "?">#&+' +#'"..>-tion to the irregularity of all the rooms. This O3>.>+/',"2-&'+


This old house has a particular character-istic, 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"#'471&-' +


In this big living room, two elements help +


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>+


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 liv-ing room is used, and they can be opened during the night to create a continuity be-tween the spaces, as they can stay closed to have intimacy.W#+-*>1*>+/' 41#4-*#&' "77' +


In the main living room there are different areas; two of them are divided by a sofa #-"*'+


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.


TB>#?'*11,')*-&-#+&'+01'&>++>#?'-7-,-#+&I'+


The photo shows a living room and a din-ing 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, cre-ating the room they need. So, interiority is represented by this solid relationship be-tween the house and people who live in; home can change depending on inhabit-ants needs, it is ready to transform itself after a change into the family it hosts.

15/interiority/furniture

T1' )7"#' "#' &' "' 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 inte-riority can be found here in the low ceiling, upholstered furniture and in the presence of all the typical elements of the house: ta-67-'7",)&@'"*,4


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/@' "#.'


T&'+


Bathroom is maybe the most private room in the house, where intimacy must be pro-tected. The artist decided to put the bath-tub 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 vis-ible, so the privacy is preserved. Interiority here is declined in a certitude of not being disturbed and seen while living the bath.


W#'+&'7>B>#?'*11,@'+-&'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' +


The drawing represents a project for a liv-ing room. In a niche a triclinium has been introduced, very comfortable, turned to +#?@'and it is highlighted thanks to the evident drawing of the walls that hold the triclini-um. 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'+


This space is extremely minimal, as it re-gards both furniture and constructive ,"+-*>"7&C'T


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 wasnt convenient enough for the intellectual activity of the artist. So, he decided to arrange a little raised space, very cozy and intimate, to al-low the painter to create his art; this space is connected with the outside through a small window, but it has no direct relation-ships with the atelier.


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.


The niche contains a conversation corner with a low, curved ceiling. The architects purpose was to create a space character-ized by meditation and privacy, to be used with friends, family or even alone. Every-thing here concerns the interiority of shar-ing and the sense of truly living the house.


The fact that the room is dedicated to a 7"./'>&'-B>.-#+'"+'+?


The living room is organised through differ-ent levels that, on a certain point of view, can represent diffrent privacy levels. The highest one is the corner in which blue so-fas 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.


This house has a particular round shape, "#.'51*'+&'*-"&1#'>+'0"&'.>5$437+'+1'4*--ate walls to separate the rooms, in fact bedrooms are all linked together. The particular characteristic of this spaces is that beds are on a sort of podium; while in other presented projects interiority can be found in little corners, here inhabitants must be on the focus of attention on podi-3,&'+1'$#.'+*'>#+>,"4/CIn addition. the cuved walls help to create a sense of protection all over the house, inviting the inhabitants to live it.


Pierre Chareau, in this project, had to melt a private house with a doctors sur-gery. 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 work-ing part of the house. This space, can look down towards the patients, but they cant see the doctors private corner. Interiority here is also given by lots of books posi-tioned in a particular parapet, wich means that there is the possibility to interact with the structure of the house and make it live-able.


R"#"+1*>3,&' "#.' +"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 peoples thoughts is not pleasant at all.The image represents a double room with some elements that suggest us the plan-ners intention to create a sort of domestic space: every patients has a own washba-&>#@'+?+>1#-.'1#'-"4


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 pri-vacy; in this case, the contact with nature is complete, also because the shiny wall *-O-+4&' >#&>.-' +


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.


(+' +?

Le Corbusier wanted to create an intimate corner in a bigger living room; the skylight and the cone-shaped light help to concen-trate the attention on this place, that se-ems 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.



The outside area in the picture pertains to the main bedroom of the house; when the weather allows to live comfortably the ex-ternal space, this area becomes an exten-tion of the bedroom. Interiority is present


The living room presented in the picture is not conventional; there are no sofas as we are usually used to see. The division be-tween 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 cre-ates 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, po-sitioned 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.


The sense of domesticity is given to this house by Wright thanks to a low ceiling, "' $*-)7"4-' "#.' #"+3*"7',"+-*>"7@' &34

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 iso-late 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.



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?


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 va-cation 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-')7"#&'+1*'&)"4-@'$#.>#?'>#+-*>1*>+/'"#.')*>B"4/C


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 ac-tivities. Interiority here means interchange between functions, that let the inhabitants live the house in different ways.


The main living room has two different 41*#-*&I' +


In an interesting article published on Do-mus magazine, the designer asks himself 0


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 protect-ed by a big wooden furniture, and it isnt 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 build-ing 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, ex-cluding everything else.


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 pri-vacy 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 couples needs. Interiority here coincides with the privacy and the intimacy that the ?3-&+&' 4"#' $#.' >#' +*' 6-.' "#.' >#' +


This picture does not strictly represent an interior; the interiority of the picture is given by the position of the architect, al-most 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&$-.'1#7/'>#'&')*1Z-4+@'+


Buckminster Fullers idea anticipate Joe ;171,61%&')*1Z-4+'15'"'&-75H&35$4>-#+'3#>+'that can be used everywhere. He was in-terested in looking for standard pieces that 4137.'41,)1&-'"'


Philippe Johnson thought his famous house completely transparent to be in ev-ery moment in contact with nature. In op-position with what many architects think, he decided to put his desk in front of the window to be opened to nature even dur-ing 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.


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 particu-lar, 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, in-teriority has been created even in an out-door space, simply putting a circular ele-ment that invites people to talk or isolate, feeling protected and safe.


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


Le Corbusier has been able here to put in an extremely small place, the main func-tions of a normal house. He interpretated interiority as a full attention on what hap-pens into the space; it is a holiday house, 0#


The idea of a curved wall is taken from Mies, but declined in a living room. The &)"4-'>&'471&-.'>#'>+&-75@'0>+?-#.&@' +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.


Ponti uses the idea to put furnishing ele-ments also on windows, that are tran-sformed in a unconvenional connection between the inside and the outside. In-habitants are invited to put objects on the shelves of the equipped-window, be-cause during the day their shapes stand out against the outside landscape, while during the night the outdoor is predomi-nant and the window is characterized by +


T4"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 com-fortable corner. But he doesnt renounce +

A convents 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 inhabitants 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.


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 protec-tion is higher. Interiority is turned only to the person sit there.



The living room in the picture is very simple and linear, with almost no furniture. The el--,-#+'+1#'>&'+55-*-#+'O11*C'T

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-' +

Artists 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 inhabi-tant. 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 oc-cuping. 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.



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

The house in which the bathtub in the photo is hosted, is very small. Despite the homes dimensions, the architect de-cided 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 in-habitant 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

62.1/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 didnt chose to hide it; on the contrary, he decided to highlight it by using a warm-coloured wood. In addition, the staircase &--,&'+1'-#7"*?-'>+&-75@'63+'>+%&'1#7/'"'$4-tion; in fact, the space obtained thanks to this enlargement, is used to expose pic-tures and drawings. The attention is con-centrated only on this original exposition element, improving the relationship be-tween the house and its inhabitants.


The photo is taken from the bed in the middle of the room, which is dedicated to a very intimate activity, making love. Interi-ority is a huge presence. It is very uncom-mon 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.


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 func-tion 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 real-ity, part of the outside.


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 po-sitioned 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 re-lationship between the room and the in-habitants; in one word, interiority.

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 do-mestic spaces in an inusual context; peo-ple can feel protected here because they can look down in the main hall, observe what is happening and examine peolple without being seen.



The young swedish architect proposed to his client a not conventional house, with a huge open space/living room. In the fore-ground 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, in-stead, a big round sofa can be seen; it em-braces people sit there, but it also connect them with the landscape outside the win-dow. Interiority, in this way, is declined into the privacy of the family and in the contact with nature.


T&' $77-.'0>+53#4+>1#"7'53*#>+3*-@'04


A chair is quite capable of formulating &)"4-' "&' "' 41?#>+>B-' $-7.C' [13' &>+' .10#'and, right away, a bubble of isolation sur-rounds you, that stems from inhabiting, Walter Pichler.As a miniature of the house, the wearable chair recreates a way of inhabiting, with-out 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 in-habitant and that chair.


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#>+'+


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

The area in the picture is a boundary spa-ce 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 cant look at the landscape, but only the interior of the home. The attention towards the insi-de, here, means interiority.



The house is situated in a japanese context characterised by terraced houses on the main street. The project has the particular-ity 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 build-ing is opened only towards itself. Interior-ity here concerns the characteristic of the structure, massive and protective as re-gards the inhabitants privacy.


This bedrooms solution is very interest-ing; in a high space, the architect has been able to create a mezzanine for a second bad; this corner could also be used for re-laxing, 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, uphol-stered sofa, accentuated by a linear shad-ow that crosses the image. Sitting here, people have the impression to be in the middle of the room, in a privileged posi-tion, 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


The patio is usually an important part of the american house; in this case, its sur-face 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.


The architect has been asked to plan a new type of hotel dedicated to travellers, +1' 7-+' +?B"4/@'since every cell can be completely closed and isolate. Everyone can think for a while just about oneself and about ones interi-ority, even if they are far away from home.


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#'&>-tor would be to try the chair, improving the relationship between the room and their-selves, in one word, interiority.


In this image there are two elements that 41#4-*#' >#+-*>1*>+/' "#.' >#+>,"4/I' $*&+' 15'"77@'+#'O11*'>&'>#'"'#>4

(+'+?+'>&'"'0">-ting room for a Spa or something similar; it could be a surprise to read, instead, that +&'>&'"'$++>#?'51*'"'5"&+'511.C'T

I think that to put a chair in an open lan-dscape 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 inte-rior space, but to ones person.


In this bedroom, a niche in the wall has been gained between two wardrobes; here a little sofa has been positioned to let the bedrooms owners have a little corner of extreme privacy and interiority, because the main bed in the middle of the room, a sort of podium, doesnt admit very much privacy. Even if this niche has a high cei-ling, the sense of protection here is very strong.


T&'$++>#?'1#'+

T&' $++>#?' )-*5-4+7/' *-O-4+&' +&' >#+-#&>$-.'6/'the little heigh of the bed: the sleepers back is almost directly in contact with the ground.


This room is located just besides the main entrance of the house; here there is the &+">*4"&-' +


The architect decided to use the space 6-+0--#'+?+-ting place; in general, this corner is use-less, 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.


In this japanese hotel, a little tea-room has been obtained in a corner of a big corri-dor; 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.


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.


The living room of the house in the picture is very big; thats why the architect decid-ed 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 be-tween the main space and the conversa-tion spot, protect the sofas. Interiority here is meant as privacy and intimacy that in-vite inhabitants to live the spot.


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.


Pawsons minimalist style is easily rec-ognisable in this picture; it represents the essential furniture of a living room. The ar-chitect 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 proj-ect 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.


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 sky-light. This corner is a sort of second liv->#?'*11,I'+


Some apartments of this building have a ,-JJ"#>#-'O11*@' +


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 cre-ate equipped walls; this aspect is a way +1')3

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. Protec-tion and intimacy are evidently part of this project, helped by the warm colour of the wood, everywhere inside the room.


In this japanese-style house, the little cor-ner shown in the picture is used by the ow-ners 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 +#'*-"7>+/'+

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'+1*>+/C'T

04 (end):Hill House, Helensburg (Great Britain)Charles Rennie Mackinoshfrom: http://www.shafe.co.uk/art/Charles_R-_Mackintosh_Hill_House-_bedroom-_Glasgow_1903.asp

05:Casa Batll, Barcelona (Spain)Antoni Gaudfrom: http://digilander.libero.it/elliy.writer/Casa%20Batllo3-elliyfoto.JPG

07:Babson House, Riverside, Illinois (USA)Louis Sullivanfrom: http://www.GreatBuildings.com/cgi-bin/gbi.cgi/Babson_House.html/cid_1138858691_250083v.html

08:Coonley House, Riverside, Illinois (USA)Frank Lloyd Wrightfrom: http://pc.blogspot.com/2008/10/avery-coonley-house-frank-lloyd-wright.html

09:Gamble House, Pasadena, california (USA)Henry and Charles Greenfrom: http://www.gamblehouse.org/pho-tos/index.html

10:Villa Garnier, Saint Rambert (France)Tony Garnierfrom: Alex Thomas Anderson, The prob-

REFERENCES

00:Mackintosh house, Glasgow, Scotland, (Great Britain)Charles Rennie Mackintoshfrom: http://www.hunterian.gla.ac.uk/col-lections/art_gallery/mac_house/bedroom.shtml

01:Hvittrask Villa, Hvitrask (Finland)Eliel Saarinenfrom: http://content.lib.utah.edu/cdm4/item_viewer.php?CISOROOT=/coa&CISOPTR=1550

01.1:Craftsman House, illustration for the Craftsman MagazineGustav Stickleyfrom: http://www.craftsman-style.info/homes/architecture.htm

02:Boke House, Berkley, California (USA)Bernard Maybeckfrom: 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 Mackintoshfrom: http://www.mylandmarks.me.uk/html/mackintosh_building.html

lem of the house: French domestic life and the rise of modern architecture, Washing-ton, University of Washington Press, 2006

11:Taliesin, Spring Green, Winsconsin (USA)Frank Lloyd Wrightfrom: http://content.lib.utah.edu/cdm4/item_viewer.php?CISOROOT=/coa&CISOPTR=4351

12:Scheu House, Wien (Austria)Adolf Loosfrom: http://www.architonic.com/ntsht/ad-olf-loos/7000419

13:48 Storeys Way, Cambridge (Great Britain)Mackay Hugh Baillie Scottfrom: V.V. A.A., The house book, London, Phaidon, 2001, p. 31

14:Dugout Houses, Coober Pedy Miners, Coober Pedy (Australia)Unknownfrom: V.V. A.A., The house book, London, Phaidon, 2001, p. 84

15:Imperial Hotel, Tokyo (Japan)Frank Lloyd Wrightfrom: http://upload.wikimedia.org/wikipe-dia/commons/5/54/Imperial_Hotel_FFW_6.jpg

16:Study for a bedroom in Villa Schwob, La Chaux-de-Fond (France)Le Corbusierfrom: 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 Moranc, Paris, 1924Emile Jacques Ruhlmannfrom: http://www.ruhlmann.info/interiors.php/t,Interiors

18:Niche with bathtub, drawing in Harmo-nies; interieurs de Ruhlmann, eidted by Jean Badovici, Editions Albert Moranc, Paris, 1924Emile Jacques Ruhlmannfrom: http://www.ruhlmann.info/interiors.php/t,Interiors

19:Hollyhock House, East Hollywood, Los Angeles, California (USA)Frank Lloyd Wrightfrom: http://4.bp.blogspot.com/_6-IIXAF-5HOE/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 Moranc, Paris, 1924Emile Jacques Ruhlmannfrom: http://www.artistsandart.org/2009/10/emile-jacques-ruhlmann-french-designer.html

21: Chase House, West Hollywood, California (USA)Rudolf Schindlerfrom: http://aftercorbu.com/wordpress/wp-content/uploads/2008/01/schindlerhouse.jpg

22:Mason dune artiste, Paris (France)Le Corbusierfrom: 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 Moranc, Paris, 1924Emile Jacques Ruhlmannfrom: http://www.artistsandart.org/2009/10/emile-jacques-ruhlmann-french-designer.html

24: Niche, drawing in Harmonies; interieurs de Ruhlmann, eidted by Jean Badovici, Edi-tions Albert Moranc, Paris, 1924Emile Jacques Ruhlmann

from: http://www.artistsandart.org/2009/10/emile-jacques-ruhlmann-french-designer.html

25:Chambre de Dame, Paris (France)Maurice Dufrnefrom: http://digitalgallery.nypl.org/nypldigi-tal/dgkeysearchdetail.cfm?trg=1&strucID=170128&imageID=96392&total=105&num=20&parent_id=169636&word=&s=&notword=&d=&c=&f=&k=0&sScope=&sLevel\]&^"6-7\]701*.\]7$-7.\]>,?&\PL])1&=35&snum=&e=w

26:Moller House, Wien (Austria)Adolf Loosfrom: http://www.architonic.com/ntsht/adolf-loos/7000419

27:Melnikov House, Moscow (Russia)Konstantin Stepanovich Melnikovfrom: http://isdjustyna2.blogspot.com/2010/01/krivoarbatsky-lane-in-mos-cow-konstantin.html

28:Maison de Verre, Paris (France)Pierre Chareaufrom: Presentation La Maison de Verre, Laboratorio di Progettazione dellArchitettura 3, Prof. I. C. Forino, 19 - 10 - 2010

29:Paimio Sanatorium patients room, Paimio (Sweden)Alvar Aaltofrom: Civilisation of living; the evolution of European domestic interiors, edited by Roberto Rizzi, Edizioni Lybra Immagine, Mi-lano, 2003, p. 106

30 (end):Tugendhat House, Brno (Czech Republic)Ludwing Mies van der Rohefrom: http://www.nytimes.com/2007/03/22/garden/22mies.html?_r=1

31 (end):Ville Savoye, Poissy (France)Le Corbusierfrom: http://tanishaameen.blogspot.com/2009/03/images-of-villa-savoye-bath-room.html

32:Villa Necchi Campiglio, MIlan (Italy)Piero Portaluppifrom: http://viaggi.globopix.net/blogper-viaggiatori/wp-content/uploads/2010/08/villa2.jpg

33 (end):Immeuble Molitor, Paris (France)Le Corbusierfrom: Presentation La casa-atelier, Labo-ratorio di Progettazione dellArchitettura 3. Prof. I. C. Forino, Milan, 9 - 11 - 2010

34:Villa Figini, Milan (Italy)Luigi Figini and Gino Pollinifrom: Interni magazine, n. 398, March 1990, p. 71

35:;1"+-&%&'O"+@'[-1,"#%&'N10@'_#>?

TO/11.aalto.mairea.int.jpg

40:Malaparte House, Capri (Italy)Adalberto Liberafrom: Roberto Schezen, Masterpieces of the Twentieth Century, New York, The Monacelli Press, 1998

40.1:!"#$%&'()"*+,-#+@'`>7"#'DW+"7/Fa>"#'^3>?>'!"#$from: Domus magazine, n. 148, April 1940, p. 31

42:Kelton Apartments, Westwood, Los Ange-les, California (USA)Richard Neutrafrom: Gianni Ottolini, Vera de Prizio, La casa attrezzata, Napoli, Liguori Editore, 1993, p. 32

43:Jacobs House, Middleton, Winsconsin (USA)Frank Lloyd Wrightfrom: 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&".-&@';"7>51*-nia (USA)Charles and Ray Eamesfrom: 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)Unknownfrom: John Margolies, Home away from home, motels in America, New York, !37$#4

slideshow/2221871/

50:Bavinger House, Norman, Oklahoma (USA)Bruce Goff5*1,V'42*C41,e)

California (USA)Pierre Koenig5*1,V'

from: http://www.cabinetmagazine.org/issues/13/sewell.php

70:22nd Street Loft, New York (USA)George Ranallifrom: Presentation Interiorscapes, Labo-ratorio di Progettazione dellArchitettura 3. Prof. I. C. Forino, Milan, 26 - 10 - 2010

71:Wearable Chair, Gianni Pettenas per-formance realized with his students of Minneapolis College of Art and Design, Minneapolis, Minnesota (USA)Gianni Pettena5*1,V'42*C41,e)?:PLg#>+:K:Cjpg

73:Containers System, MOMA, New York (USA)Ettore Sottsassfrom: Gianni Ottolini, Vera de Prizio, La casa attrezzata, Napoli, Liguori Editore, 1993, p. 98

75:House VI, West Cornwall, Connecticut (USA)Peter Eisenmanfrom: http://www.designbuild-network.com/features/feature2169/feature2169-3.html

76: Azuma House, Osaka (Japan) Tadao Andofrom: http://www.youdesign.tv/wp-con-tent/uploads/2010/12/20101222_tadao_ando_8.jpg

77:Dwelling for a young woman, Milan (Italy)Cini Boerifrom: Civilisation of living; the evolution of European domestic interiors, edited by Roberto Rizzi, Edizioni Lybra Immag-ine, Milano, 2003, p. 202

78:Koshino House, Ashiya, Kobe (Japan)Tadao Ando5*1,V'42*C41,e)

p. 89

79.1:Capsule Inn Hotel, Osaka Airport (Japan)Kisho Nokiari Kurogawafrom: http://aggregated.soup.io/tag/cap-sule

82:Mendinis Apartment, Milan (Italy)Alessandro Mendinifrom: Domus magazine, n. 624, January 1982, p. 226-227

83:Monolocale per signoraAlessandro Colbertaldofrom: Interni magazine, n. 334, October 1983, p. 12

83.1:Fitting for La XVII Triennale di Milano 1983 - 1988Denis Santachiarafrom: Interni magazine, n. 357, January/February 1986, p. 30

84:Fitting for a Thonet chair, Marche (Italy)M&Mfrom: Interni magazine, n. 363, Septem-ber 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. 686:Fitting by Maria Luisa Brighenti for In-terni magazineMaria Luisa Brighentifrom: Interni magazine, n. 363, Septem-ber 1986, p. 46-47

86.1:Fitting for Light system Ya YaIngo Maurerfrom: Interni magazine, n. 359, April 1986, p. 47

87:Qualia House, Nagoya, Aichi Prefecture (Japan)Takasaki Monobito Institutefrom: 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 Institutefrom: The Japan Architect magazine, n. 387, June 1989, p. 34

89:Hotel, Ashigarashimo-gun, Kanagawa (Japan)Amorphe Architects and Associatesfrom: Interni magazine, n. 391/392, Novembre/December 1989

90:Davis House, Eugene, Oregon (USA)Howard Davisfrom: http://www.GreatBuildings.com/cgi-bin/gbi.cgi/Davis_House.html/cid_2977929.html

91:Greenberg House, Los Angeles (USA)Riccardo Legorretafrom: Kenneth Frampton, Capolavori dellarchitettura americana: la casa del XX secolo, Milano, Rizzoli, 2002

92:Gaspar House, Zahora (Spain)Alberto Campo Baeza5*1,V'42*C41,e)

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 In-teriors 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, repre-sented 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 Chairdesigner: Jacob Rochus

interiority

Documents

glass house

house vi76

case study house

single family house

villa figini35

villa garnier11

villa schwob17

villa mairea40