INHABITING

Inhabitingby Mattia Alfieri

Didactic exerciseFall semester 2010

Interior worlds: “Inhabiting”Main editorGennaro Postiglione

Course of Inerior ArchitectureFaculty of Architettura e SocietàPolitecnico di Milanowww.lablog.org.uk

Editor Mattia Alfieri

only for pedagocic purpose not for commercial use

INDEX00_Inhabiting by Lucilla Zanolari Bottelli 01_Drawing Room

02_Fireplace

03_Villa Karma

04_Tea Room

05_Stoclet Palace

06_Wilhelm Bode Salon

07_Dining Room

08_Living Room

09_Robie House

10_Steiner House

11_Milà House

12_Villa G. M. Ericsson

13_Midway Gardens

14_Dorda House

16_Ricmond Station

17_Chop Suey

18_Living Room

19_Antellani House

20_Vertical Guitar

21_Exhibition House

22_Plecnik House

23_Villa Noailles

24_E 1027

25_Ressurance Chapel

26_Frankfurt Kitchen

27_Rue de Lota Apartment

28_Maison de Verre

29_Villa Muller

30_ M. C. de Beistegui Apartment

31_Villa Tugendhat

32_Villa Campiglio

33_Villa Borletti

34_Journalists Village House

35_Kauffman House

36_R. Sarfatti Memorial

37_Munkkiniemi House

38_Villa Mairea

39_Modernist Fazenda

40_Villa Malaparte

41_Student Housing

42_Women

43_Ballroom House

44_Minola House

45_M. Mahesh Yogi’s Ashram

46_Still Life

47_Barragan House

48_Artigas House

49_Cabanon

50_House of Glass

51_Miss M. Sarabhai Villa

52_Foschi House

53_Ideal House

54_C. Marcenaro House

55_Romanelli House

56_Future House

57_Colours and Shapes House

58_Sky House

59_V. P. Cirell House

60_Leme’s House

61_Esherick House

62_Rotalinti House

63_Electromedical Set

64_House in White

65_Inhabit House

66_Under my Chair

67_Villa La Califfa

68_Water Table

69_T. Othake House

70_Nakagin Capsule Tower

71_Abitacolo

72_Ideal City

73_Total Furnishing Unit

74_Serpentone

75_Metaphor of a Door

76_House in Kamiwada

77_Malagueira

78_Pernigotti Home

79_F. Gehry House

80_Gilardi House

81_House of Energy

82_House in Hanayama

83_House in Algarve

84_Contact

85_Ramot Housing

86_Silver Hut

87_Alcaneva House

88_House in Porto

89_Neuendorf Villa

90_Crate House

91_Grey Clam

92_Villa in the Forest

93_House in Paros

94_Vinyl Milford

95_Living Unit

96_Sea of Japan

97_House in Bordeaux

98_Charcoal-Burner’s Hut

99_Tea House

00_House in a plume grove

There is one characteristic that ena-bles a (private or public) room to achie-ve the definition of interior: high quality of life. The character and quality of an envi-ronment are described as a subjective experience (Bruno Munari).By feeling a space in a particular man-ner, we give it a meaning through ge-stures and actions. Gestures and meaning transform a space into a place. The place is built by actions (A&P Smithson), if there is a gesture there is also an object related to it. We may state that, whenever there is a systematic relationship between objects and actions, objects deter-mine places. This system of furniture (Ettore Sottsass) culturally associates the things we use with the interior con-text they are placed in. In a continuous transformation, life-

Inhabitingby Lucilla Zanolari Bottelli

Abstract

styles and models are the manifesta-tion of the cultural endeavors to find a home for new gestures (Le Corbusier).Everyday life makes an interior a place to be (Martin Heidegger), where tradition is never betrayed but only translated (Adolf Loos). What are then domesticity, or hospitality, or home? Martin Heidegger’s paradigm of dome-sticity is the window.Does a window call a room? Gio Ponti draws interiors by sight running throu-gh them, playing with the insideand outside of places. For some architects the quali-ty of life is not only a window, but anything that provides pleasure and comfort, shelter and privacy (Ludwig Mies van der Rohe) to a place. As an instrument serving life which flourishes in it, Architecture supports Inhabiting.

Paper

The essay aims to describe the word inhabiting suggesting a possible deba-te on its future definitions. This word refers to an abstract concept, so-mething we cannot touch or measu-re, but can only feel; something that communicates a certain space. The dictionary provides a double direction investigation and drives toward a pos-sible definition of inhabiting. As a com-pound idiomatic structure this word has two interconnected meanings. The noun [in+ inhabiting] comes from [in + habit], where the prefix “in” indicates a posi-tion into space and expresses a place characterized by being inside and not outside. Habit instead refers to a habitual be-haviour; something that is hard to stop doing because it is intrinsically in the heritage of the performer.

From the word habit comes also ha-bitable – meaning “suitable for li-ving in”; the word habitat – “a natural environment of an animal or a plant; home”; and finally habitation signi-fying inhabiting or being inhabited, as well as a place to live in, a house or home. The verb inhabit means “live in; occupy”, which drives us to Inhabitable – something “that can be lived in”; and Inhabitant – a person or an animal living in a place.” In brief, the roots of inhabiting are related to habitat, be-haviour, occupancy, inside, home and house, place and space. The sense of this wor(l)d is living in a place. Living in a place is quite different from li-ving in a space. Marc Augé defined a place as a spa-ce in which an individual or a group of people recognize themselves.A place is something more than the

abstract geometrical space. Each pla-ce is characterized by an identity generated by the gestures of the inhabitants. Therefore it is subjec-ted to transformation, and it refers to the inhabitant, either group or individual. This special relationship between occupant and place is also called habitat, the natural or artifi-cial environment in which a person, an animal or a plant lives in. Richard Neutra wrote “liveable space and liveable time are not at all the same for all creatures.” Indeed we may not be able to understand or sen-se a foreign environment that we don’t recognize as our own. He clearly iden-tifies a home as a built object, may it be a nest or a house that fits into the contingent world of the inhabitant and reflects his needs as well as his sentiments: home “must anchor us on a spot of this earth.” This concept, similar to the Augé’s lie-ux, has an explicit analogy with Martin Heidegger’s theory on Dasein. In 1951 he stated that being in this world me-ans living in it, and that inhabiting should take care of this existential space. Das Gewohnte is then the familiar pla-ce, the habitual, and it is referred to the everyday life of the individual as part of the collective. In brief, in the living place we recognize our soul, and it becomes a mooring place, a very im-portant spot for our existence. Inhabiting is then a matter of the soul. Place and space are not the same, as well as home and house. Heidegger drew a distinction betwe-

en housing, a technical problem, and dwellings, the condition of “man’s being in the world.” Dwelling reveals the definition of “anthropological” exi-stential space in which to experience the relations within the world. This live in space is described by Chri-stian Norberg-Schulz as composed by many spaces: a pragmatic space in which people meet their biologi-cal needs; a perceptual space; an abstract space of pure logical rela-tions; a cultural space in which peo-ple find their collective activities as a community; an expressive space related to the art as interpretation of changes. In this spatial composition man projects his image of the world into his environment in order to feel at home.And when the world becomes an insi-de, man is capable of dwelling, which therefore implies something more than a shelter. Inhabiting integrates both concepts of house – the shelter, the dimension of privacy, comfort, ple-asure, and security, and the answer to our biological needs; and home – the cradle of inhabitant’s existen-ce with his thoughts, memories and dreams, man’s primary world. Heidegger strictly related dwelling to building as something that remains, that stays in the place, as the act of taking roots in the soil. But dwelling is also the place where exchanges occur, where common values are accepted, and where we can withdraw from the wider world outside. The ambiguity between the dwelling object and the dwelling action also

concerns inhabiting. Each meaning outlines a distinct settlement scale such as the collective area of urban places, the public area of institutional places, or the private area of home. The nature of dwelling is indeed the belonging and the participation; either we deal with the public or with the private spheres of inhabiting. In this definition of dwel-ling, inhabiting bears stability instead of transformation. How does this state-ment match today’s situation of econo-mic changes and social mutations? Different levels of transformations af-fect the domestic character of inhabi-ting. Ettore Sottsass defined domestic as the temple of inhabiting, where we can preserve and protect the ancestral family feeling. On a conceptual point of view, dome-sticity, as the dogma of home, deter-mines a threshold between the inside and the outside. At the same time a domestic place also responds to our social and personal needs. Nowadays society is based on infor-mation and immediate communication where home is no longer a physical place but has a virtual connotation. To-gether with the main service areas of kitchen and bathroom, today’s houses provide an electronic platform of infini-te possibilities. How is domesticity changing? Through time, building has adopted new mate-rials and new techniques. Habits have changed overwhelmed by politics, phi-losophy, style, and economy. In order to plan a behaviour, interior design aims to control habits occurring in a living space.

Manuel Gausa focused on the tran-sformation of the family unit and the collapse of the residential ste-reotype one room for each function. As a result of social instability and loss of certainties, the contraction of space shows new tendencies of the interior spatial distribution, both on the small and the large scale. The city produces a relocation of ser-vices that once where domestic, while now they are spread on a urban level based on the self-service offer. The in-crease of conscious acceptance of a residential mobility increases the de-mand for rental houses with an easy turn over of the occupants. This phe-nomenon requires “the greatest possi-ble degree of flexibility, where the tech-nical nuclei allow to be adapted to the inhabited space.” Houses become more and more technological, and services, such as kitchens and bathrooms, stop being marginal areas and loose their initial privacy aspect opening to other rooms. Moreover the www has transformed the image of home, no longer limited only by walls. With a PC and an internet connec-tion the inhabitant lives on-line. On the web it is possible to work, meet people, find new friends, invite them at home. People of the new millen-nium also inhabit a virtual place. This digital environment needs a scre-en and a touch mode or a voice deco-der as interfaces between the real and the virtual dimensions. Interiors are heading towards the sur-

space, where digital surface/space becomes a whole, where walls may convert into full screens almost free of furniture. While mobility, technology and internet influence future interiors, what role do objects acquire? Many functions and actions are put into single unit devices to fit small interiors. Homes contain personal items of the inhabitant and objects of common use, some decora-te the ambient, others furnish the pla-ce. In the temporary renting tendency furniture should come with the house, instead of following us. Together with reduced space and equipped interiors, will architecture re-visit the habitable objects of the 60’s and 70’s?Joe Colombo, Bruno Munari, Alberto Rosselli integrated equipped blocks and adapted them to different situa-tions or else where created units com-pletely out of context. Even earlier, Le Corbusier, proposing the casier-standard, stated “the notion of furniture has disappeared. It has been substituted by a new definition: domestic equipment.” Today’s market proposes single design products for a status symbol to pursue, while the reality is a need for compactness and flexibility, where traditional furniture, such as the bed, table and closet, share the ambient with other objects of everyday use such as the PC, mo-bile phones, sound supplies, and har-dware. Inhabiting objects are part of the place and influence the gestu-res of the inhabitant.Looking for a given definition of inhabiting opens a

variety of interlinked questions. Inhabiting deals with life and place. It is influenced by changes of habits. It is a necessity of the one as well of the many. But why is it an interior word?The phenomenon of inhabiting ge-nerates a world of relations in spa-ce; relations building an invisible network of tensions and possibili-ties, between people that live-in, but also between objects that furnish the place. The distances between these impalpable threads determine the context of the place, the interior. Without these relations, inhabiting does not exist. Carlo De Carli called it “spazio pri-mario”, identifying the unity and uniqueness of this system of rela-tions as the material of architectu-re. The spazio primario does not have a particular shape, neither dimension nor material, but it is pervaded by life as it is originated from any relationship within. Concerning the physical spa-ce, its limits and furniture, architecture by De Carli is found by the harmonic construction of this specific space that prefigures inhabiting and the gestures occurring in it. Architects must possess and exercise the “infeeling” of such pla-ce, primario, futuristic and contingent at the same time. Towards an unknown and unstable future of this world focu-sed on globalization, inhabiting incre-ases the character of the heritage and local tradition, bringin the project to in-teriorize inevitable transformations.As the instrument serving life that has place in it, architecture sup-ports inhabiting.

References

Augé, Marc. 1996. Nonluoghi. In-troduzione a una antropologia della surmodernità (1992). Trans.Dominique Rolland. Milano: Elèuthera.Bachelard, Gaston. 1969. The poetics of Space (1958). Trans. Maria Jolas. Boston: Beacon Press.Calvino, Italo. 1993. Le città invisibili. Milano: Mondadori.De Carli, Carlo. 1982. Architettura: spazio primario. Milano: Hoepli.Gausa, Manuel, Vicente Guallart, Willy

Lucilla Zanolari Bottelli

Architect, she has always studied dif-ferent cultures by attending schools inSwitzerland, Italy, USA, Spain and China. In 2004 she graduated in Archi-tecture at the Politecnico di Milano.Currently she is an assistant lecturer in the Architecture and Design Faculties, while attending her second year of the PhD in Interior Architecture and Exhi-bition Design at the Politecnico diMilano.

Müller, Federico Soriano, Fernando Porras, and José Morales. 2003. The Metapolis Dictionary of Advanced Architecture: City, Technology and Society in theInformation Age. Barcelona: Actar.Heidegger, Martin.1991. Saggi e discorsi (1951). Trans. Gianni Vattimo. Milano: Mursia, 1991.Hornby, Albert S., and Anthony P. Cowie. 1989. Oxford Advanced Lear-ner’s Dictionary of CurrentEnglish. Oxford: Oxford University Press.King, Peter. 2004. Private Dwelling: Contemplating the Use of Housing. London: Routledge.Le Corbusier. 1999. Precisions: Respecto a un estado actual de la arquitectura y del urbanismo (1930).Trans. Johanna Givanel. Barcelona: Apóstofe.Lefas, Pavlos. 2009. Dwelling and Architecture: From Heidegger to Ko-olhaas. Berlin: Jovis.Merleau-Ponty, Maurice. 1965. Fe-nomenologia della percezione (1945). Trans. Andrea Bonomi.Milano: Il Saggiatore.Neutra, Richard. 1962. World and Dwelling. Stuttgart: A. Koch.Norberg-Schulz, Christian. 1979. Genius loci: Paesaggio, ambiente, architettura. Milano: Electa.Smithsons, Alison, and Peter Smi-thsons. 1994. Changing the Art of Inhabitation: Mies’s Pieces,Eames’s Dreams, the Smithsons. Lon-don: Artemis.Sottsass, Ettore. 2002. Scritti: 1946-2001. Vicenza: Neri Pozza.

ATLAS

‘01 / inhabiting

A drawing room by C. R. Mackintosh full of sense of domesticity, also inspi-red by objects wich remaind me more to a living room than others.

‘02 / inhabiting

A place like this is a perfect corner where get rest and take relax. It’s like a nest wich could be our place to be on this world.

‘03 / inhabiting

In this house by Adolf Loos we can see how a place to be in relax could be not only in the middle of the house but at the margin. In this case sense of protection is gave by the fornitures.

‘04 / inhabiting

This is a tea room designed by C. R. Mackintosh.During the 20th century, styles had changed but place to inhabit always had something common: fireplace, lit-tle corners to rest...

‘05 / inhabiting

Is possible to take relax and get pri-vacy also in public spaces. In these cases objects an fornitures have an important role.

‘06 / inhabiting

In this room fornitures and finishes make the space so muffled, wich pro-bably reflects the nature of inhabitants and the time in wich they lived.Inhabiting a place means feature it one by our way of life.

‘07 / inhabiting

This dining room by Henry Van de Vel-de is the typical expression of how people lived in those years. Inhabiting was really connect with domesticity and fornitures were the expression of it.

‘08 / inhabiting

Objects always played an essential role in the way of living a space, espe-cially when in the eraly 10’s house was still thought with a room for each fun-ction.

‘09 / inhabiting

Decorations, fornitures and space be-come the same thing in this place by F. L. Wright. People who inhabit this place is the connection between all this parts.

‘10 / inhabiting

We can see how in this place light, structure and objects are all integrated in one thing wich is able to create an incredible atmosphere of inhabiting.

‘11 / inhabiting

Enter casa Mila is like enter another world where all is done to feel a par-ticular sensation of constant relation with nature, and there is an incredible sense of peace.

‘12/ inhabiting

This scene rappresenting an ordinary habit of a common family.In this room nathing is excessive and too much, nothing emerge.Inhabiting means living in a place where we can recorgnize ourself in the most natural way.

‘13 / inhabiting

Here we can see the Midway Gardens designed by Frank Lloyd Wright.In this case we can understand inha-biting as find our way of life but not only in our own but in relation with the comunity we are in.

‘14 / inhabiting

A place without too much light create the perfect atmosphere to take relax. Also places wich are not too coloured help people to feel calm. Inhabiting means feel at home in a certain place.

‘16 / inhabiting

This is the ralway station of Richmond. We can see how the big benches creat a relation with people who are cros-sing that space. Inhabiting is streacrly related to human scale because peo-ple can inhabit more in small places than in huge spaces.

‘17 / inhabiting

Here we can see a canvas by Edward Hopper, who painted these people sit-ting in a bar. They are doing common actions and unconsciously they are in-habiting that place.

‘18 / inhabiting

This proposal by Giacomo Balla is an interpretation of a new architecture and a new way of inhabiting. Howe-ver the paint is confuse is possible to see a different definition of walls, cei-ling and floor wich implies a space to inhabit.

‘19 / inhabiting

Inhabiting is remarked by the objects wich people collect inside home. Objects help us to recognize ourself in the places where we live.

‘20 / inhabiting

Objects, wich always give to a space sense of domesticity and human sca-le, in relation with people create sense of inhabiting.

‘21 / inhabiting

In this iterior realized for a Bauhaus exhibition we can see how in these ye-ars, architects tried to designed more simple spaces without loosing the do-mesticity of those.

‘22 / inhabiting

Here we can see the entrance of Lepc-nick house wich is more than a simple one. It’s already a place where you can find intimacy and sense of inhabiting.

‘23 / inhabiting

In this image we can see the terrace of Noailles Villa designed by Robert Mallet Stevens and Pierre Charea. A wonderful place at the top of the hou-se wich is really more similar to a nest than a bedroom. Is a place where re-cover our soul.

‘24 / inhabiting

This corner of “E1027 house” is simply painted with ancestral drawings wich fills the space and create a side scene for human actions.

‘25 / inhabiting

This is a little space for the priest next to the Ressurrection Chapel by S. Le-werents.It’s a little place wich seems to be a home, a small corner to inhabit.

‘26 / inhabiting

Inhabiting had changed during the 20th, also because of important projects wich improved the design and the features of the spaces. The Frankfurt Kitchen is one of the most important studies on the way of living in Germany in the middle of 20’s.

‘27 / inhabiting

Here we can see a room of a house in Paris by Eileen Gray.Living space and time are not the same for all the people as Neutra teach, but all of us need places to take care and relax.

‘28 / inhabiting

This house by Pierre Chareau is an ex-trordinary attempt of delate the margin between interior and exterior. The living is full of light wich come from the outside, but is a place where still you can find intimacy.

‘29 / inhabiting

Corners are important to let us feel protect in the space where we are. Some steps can help to feel that is a different place, more private than the rest of the space.

‘30 / inhabiting

Sense of inhabiting can also be find in open spaces. This terrace by Le Cor-busier, has a guard that is higher than the normal, so people there can feel to be outside but in intimacy.

‘31 / inhabiting

Here is Villa Tugendhat by Mies Van Der Rohe. A curved wall can be use to cre-ate a different kind of space also wi-thout building a totally encase place. People to inhabit need to find more private places than the rest of the spa-ce.

‘32 / inhabiting

This is a room of Necchi Campiglio Vil-la. A table around wich sitting always inspired sense of inhabiting. Feel at home as a place to stay and be in inti-macy. Years ago houses had one pla-ce for every function of life.

‘33 / inhabiting

In this painting by Pierre Bonnard a girl is doing her ordinary action in the ba-throom, in this sense she is inhabiting that space wich change in a “place”, because space and inhabitants make place

‘34 / inhabiting

In the 30’s was developed the practice to live terraces as places in continuity with interior places. In this house by Figini and Pollini there is an open air gym.

‘35 / inhabiting

Inhabiting means enclose a space on the world and do it ours, built it in con-tinuity with nature and take care of it. Here F. L. Wright builted a house toge-ther the nature.

‘36 / inhabiting

In western tradition when people died go on to occupate space leaving a sign of his presence on the world in the past. This memorial for Roberto Sarfatti made by big blocks of stone will stay there forever.

‘37 / inhabiting

Corners characterized by a more hu-man scale than the rest of the space create places to stay and where sense of inhabiting is powerfull.

‘38 / inhabiting

In his Mairea Villa, Alvar Aalto desig-ned a free standing pillar in the middle of the space wich act like a point of reference in the middle of the space.

‘39 / inhabiting

An outdoor place in continuity with na-ture around can be an amazing place to talk and to feel the ambient and air passing through. Is a shelter made by a ceiling wich float above air and cre-ating horizontal pressure wich invite you to look around.

‘40 / inhabiting

This is the roof of Malaparte villa wich was the set of “Le Mèpris”.Also the roof is an important space wich can be a place for human ac-tions

‘41 / inhabiting

We can see how the people in this room animate the space wich is per-fect for them. Between the space and human action born the sense of inha-biting

‘42 / inhabiting

In this image is possible to under-stand how also open spaces can be inhabit. The meaning is inhabiting the city through acrions wich people play outside.Also the road can be a place to inha-bit

‘43 / inhabiting

This is the margin of the outdoor spa-ce of a ballroom by Oscar Nyemeier. Open spaces near buildings help us to dwell in continuity with nature and feel guarded.

‘44 / inhabiting

In this house by Carlo Mollino there’s a living with modern tipical fornitures but always a fireplace as in the early 10’s.

‘45 / inhabiting

This vernacular architecture is a pla-ce, in India, where also a lot of famous artists went in the 60’s to create and inspire themselves in constantly con-nection with nature and univers. These shelters isolate them from other peo-ple.

‘46 / inhabiting

Objects, wich always give to a space sense of domesticity and human sca-le, in relation with people create sense of inhabiting.

‘47 / inhabiting

In this space by Luis Barragan inha-biting is inspired by the connection with nature. A depthless window try to delete the margin between inside and outside.

‘48 / inhabiting

In this house by J. V. Artigas lot of win-dows with thin frame make us feel so-metimes outside and sometimes insi-de. In these case sense of inhabiting is not found in little rounded corners but in a constant relation with nature.

‘49 / inhabiting

This is one of the most important example of what inhabiting means. A very little place where all is built thin-king the necessity of dwell. An enclose space wich mantain a relation with the outside by small window wich are like pictures of nature.Gaston Bachelord said that our home is our corner of the world.

‘50 / inhabiting

In this house by Lina Bo Bardi, objects and fornitures dance in the space. In open spaces people who inhabit the space can change it and creat diffe-rent places.

‘51 / inhabiting

An open space with few objects and made by local material focused our at-tention on a sensation of smoothness and peace. Big spaces allow the inha-bitant free to create corners around.

‘52 / inhabiting

Places where stay together always inspired sense of inhabiting wich co-mes frome the streactly relations with objects space and people.

‘53 / inhabiting

This is an example of haw was chan-ging and evolving the way of living in 50’s. Objects become more important for inhabiting. Houses were more sim-ple and more fulls of fornitures.

‘54 / inhabiting

In this house by Franco Albini, for Ca-terina Marcenaro, we can see haw an important role is played by the firepla-ce wich become a point around wich inhabit.

‘55 / inhabiting

In this house, did in collaboration by Scarpa, Morassutti and Masieri, the outside spaces become places to live, fulls of corners where to stay and find privacy and intimacy.

‘56 / inhabiting

This is the patio of the Future Hou-se, projected by the Smithson, who talked about the importance of patio. They mean patio not only as a physical space but as a place in strectly rela-tion with nature. A central point of the house.

‘57 / inhabiting

This installation is by A. Castiglioni who tought about this interpratation on dwelling in the 50’s.

‘58 / inhabiting

This house by Kiyonori Kikutake is an example of how eastern country didn’t brake with tradition but they used hi-story and memory as a point to start.

‘59 / inhabiting

Again an interpretation of a patio, by Lina Bo Bardi. I think about this place as full of life, where inhabitant and na-ture find a point of unit.

‘60 / inhabiting

In this image we can see a room by Paulo Mendes da Rocha.A place can be characterized by the objects of who live the space, and by this way habitants can recognize him-self.

‘61 / inhabiting

In this house by L. Kahn fornitures act like walls dividing the inside from the outside and creating a place that coul be inhabit.

‘62 / inhabiting

Shadows can create corners where take care of yourself relaxing.Inhabiting means take care of us and of the place where we live.

‘63 / inhabiting

Technological innovations mutate the way of inhabiting during the 20th cen-tury. Especially in the 60’s appliances improove the lifestyle of housewifes.

‘64 / inhabiting

Japanese architects, always try to give a pint of reference to wich live around.In this case a pillare become a really important object in the middle of the space. Always life will be play around it.

‘65 / inhabiting

This an example of tipical dwell situa-tions of 60’s, made by Achille and Pier Giacomo Castiglioni.

‘66 / inhabiting

Bruce Naumann faced up to “inhabi-ting” making a mold of the space un-der an hypothetical chair. A void that become a fulness.

‘67 / inhabiting

A patio before the entrace of a house can be like a filter between inside and outside. It prepares people who are entering home to be in a more dome-stic dimension.

‘68 / inhabiting

In the orient world, people dwell in harmony with nature and this is reflect in the fornitures. Like this table made in stone with a thin layer of water wich design the space above.

‘69 / inhabiting

In this house by Ruy Othake we can see as a big ceiling can inspire protec-tion and make a big space like this one more human.

‘70 / inhabiting

Tokyo is one of the most populated city in the world and since many years ago eastern architects tried to answerd to the necessity of living in minimum spaces. This research was different from the western one. It was not only on minimum spaces but about the re-alization of little places to restored the aim and the body.

‘71 / inhabiting

Bruno Munari ivestigates the theme of inhabiting by lot of projects like this one called abitacolo. It’s a simple modular structure, made in steel rod, wich is possible to assemble in diffe-rent ways and creat different places for different ways of living.

‘72 / inhabiting

Superstudio research in a more ab-stract way than other architects on the theme of inhabiting, wich gives input to other architects and artists in futu-re. This is a collage of an ideal place to live.

‘73 / inhabiting

This is an example of how tecnical in-novation improove the research on the theme of inhabiting. It’s a prototype for a single residence, called total fur-nishing unit.

‘74 / inhabiting

“Serpentone” is a single element wich create a big place to sit in fellwship with other people. A big sofa wich can be modeled as the owner prefer.

‘75 / inhabiting

People don’t need always of space enclosed by big walls to feel at home. People only look for places where they can recognize themselves.

‘76 / inhabiting

Sometimes is a common opinion that more objects there are in a space more this can be hospitable, but in some occasions places are more powerfull if situations don’t scramble each other.

‘77 / inhabiting

This is a projects of social housing in Portugal by Alvaro Siza. Every unit has a patio and different cloured details to be not alienating. Inhabiting is also find our place to live inside a comunity.

‘78 / inhabiting

This room designed by AG Fronzoni is the expression of what minimal artists research in that period. Places with the necessary and not more.

‘79 / inhabiting

In this image is possible understand how life falling down from this strange ceiling influence a lot the way to inha-bit thi space. This could be not only a kitchen but also a place to meet pe-ople

‘80 / inhabiting

The colours of this house make me feel all the tradition of its country. Inhabit means live in continuity with traditions and not break with them.

‘81 / inhabiting

This is a prototype of an energy house, realized in the 80’s. The ironic thing is that it seems to be more a cave than a future house.Inhabiting in the future but with tradi-tions.

‘82 / inhabiting

In this house designed by Kazuo Shi-noara the shape of the space and the direction of the light create a perfect place to inhabiting.

‘83 / inhabiting

In this house by E. S. de Moura the shape of the space suggest the way to live it. It’s a place to inhabit in relax and get rest

‘84 / inhabiting

This is a project by Gabriele Basilico wich interprets the relation between objects and people. Inhabiting find place in this gap, between objects and their owner.

‘85 / inhabiting

I think that this strange building tried to explore the topic of living in comu-nity but without loosing us.

‘86 / inhabiting

A place to inhabit wich is in the middle between inside and outside. It try to make the outside inhabiting in a good way.

‘87 / inhabiting

This patio before the entrance of the house work like a filter between inside and outside, making the passage vio-lenceless

‘88 / inhabiting

A place around wich sit and inhabiting. Is possible to see how light, architec-ture and objects work together in this place.

‘89 / inhabiting

This patio with enclosed by this big walls make people who inhabit it, feel all the power of the place where thy are

‘90 / inhabiting

Loosing of the idea of “one space for each function” improove research on spaces wich are totally flexible and designed in the minimum space pos-sible.

‘91 / inhabiting

Inhabiting means also appropriating of the space creating place for people and comunity.

‘92 / inhabiting

Inhabiting means also feel protect at home, and in this house by Kazuyo Sejima a circle shape can help to built this atmosphere.

‘93 / inhabiting

Find a place on the world in connec-tion with nature and take care of it is one of the essential way to live in har-mony. This space by Aurelio Galfetti let the nature come inside.

‘94 / inhabiting

This is an ironic interpretation by Allan Wexler, about current needs of mini-mum spaces that contemporarity re-quires.

‘95 / inhabiting

A kind of cable where sleep. Thought as an indipendent unit wich is possible to move from place to place dipending from the owner.

‘96 / inhabiting

Hisoroshi Sujimoto tried to define a the sensation of a place wich is not possible to pass. People who inhabit next to the see always had a streactly relation with him.

‘97 / inhabiting

Inhabiting is the whole of byological needs, relations between objects and people and sense of home. This house by Rem Koolhas was designed exactly for people who will live in.

‘98 / inhabiting

This place by Smiljan Radic and Mar-cela Correa is strectly influenced by the nature of the site and the way of li-ving of the people. This is not a house but only a stuff wich can help the ow-ner to live his life. It’s built in continuity with the context so we can situate it in the world by our mind.

‘99 / inhabiting

This is a corner of a little place built by Terunobu Fujimori. Use like a tea house and shaped as a small cube standing on some cutting branch of a tree. It’s a space were you can feel in relation with the place by the action of doing tea, wich is a ritual function.

‘00 / inhabiting

A space wich is not only a bedroom but a place to be in relax, like a nest. As Heiddeger said: “place and space are not the same, as home and hou-se”. This big window obove the bed remaind to the condition of “man being in the world”.

‘00 / inhabiting

My work is an experiment about inha-biting on the web in the 21st century.In november i started to built my farm and to had plants, animals and mo-ney. Soon i met new people there who helped my with my farm and me with theirs. Is possible to construct many pieces of farm and to project the ground; more you work, more you get, more you can construct.Nowadays is possible to do on the web lots of things that in the past was only a dream. Who wonder how it will be?

CREDITS‘01_Drawing room, 120 Mains Street, Glasgow, Charles Rennie Mackintosh and Margaret Macdonald Mackintosh, 1900-1902ph: © T & R Annan & Sons Ltd

‘02_Fireplace, Olbrich house, Darmstadt, Ger-many, Joseph Maria Olbrich, 1902from: “Accogliere raccogliersi: l’interno do-mestico tra partecipazione ed esclusività”/ curated by Agostino Bossi, Giannini edito-re, Napoli 1999 ‘03_Villa Karma, Vevey, Swiss, Adolf Loos, 1903-1906from: Adolf Loos : “Frammenti di architettu-ra viennese”, curated by Federico Brunetti, Giovanni Denti, Alinea, Firenze, 1995

‘04_Principal bedroom, The Hill House, Charles Rennie Mackintosh, 1900-1904ph: © T & R Annan & Sons Ltd

‘05_Hall of Stoclet Palace, Bruxelles, Josef Hoffmann, 1905from: Eduard F. Sekler, “Josef Hoffmann 1870-1956”, Electa, Milano, 1991, p.348

‘06_Salon of Wilhelm Von Bode, Wilhelm Von Bode, 1906from: germanhistorydocs.org

‘07_Dining room, third german Arts and Crafts exhibition, Dresden, Henry Van de Velde,

1907from: Bildarchiv preussischer kulturbesitz

‘08_living room, Peter Behens, 1908 from: Bildarchiv preussischer kulturbesitz

‘09_Dinner room, Robie House, Chicago, USA, Frank Lloyd Wright, 1909from: Pfeiffer Brooks Bruce, “I Capolavori”, Milano, Rizzoli, 2000

‘10_Dining Room, Steiner house, Adolf Loos, 1910-1912from: Adolf Loos : “Frammenti di architettu-ra viennese”, curated by Federico Brunetti, Giovanni Denti, Alinea, Firenze, 1995

‘11_Main entrance and patio, Mila house, Anto-ni Gaudì, 1905-1912from: barcelonacasamila.com

‘12_Living room of Gustav M. Ericsson villa, Li-dingo, Brevik, Sweden, Sigurd Lewerentzfrom: “Sigurd Lewerentz”, curated by Nico-la Flora, Paolo Giardiello, Gennaro Posti-glione, Colin St.John Wilson, Electa, Mila-no, 2002

‘13_Midway Gardens, Chicago, Illinois, USA, Frank Lloyd Wrightfrom: Pfeiffer Brooks Bruce, “I Capolavori”, Milano, Rizzoli, 2000 ‘14_

Dorda House, Cartagena, Spain, Victor Beltrì, 1914from: www.ateliernet.com

‘16_Broad Street Station, Richmond, VA, USA, John Russel Pope, 1910-1919from: “Atmosfere”, Peter Zumthor, Electa, Milano, 2008, p.10

‘17_Chop suey, MOMA, New York, USA, Edward hopper, 1917from: www.edwardhopper

‘18_ Project for a living room, Giacomo Balla, 1918from: “Futurismo e Futurismi”, Milano 1986

‘19_Antellani House, Corso magenta 65, Milan, Italy, Piero Portaluppi, 1919from: “Linea errante nell’architettura del Novecento”, curated by Luca Molinari, Piero Portaluppi Foundation, Skira, Milano 2003

‘20_Vertical guitar, Le Corbusier, 1920from: “L’art decoratif d’aujourd’hui”, G. Crest, Parigi, 1925

‘21_Sperimental house for the Bauhaus exhi-bition, Weimar, Germany, Muche and A. Meyer, 1922from:”Storia dell’architettura moderna” by Kenneth Frampton, Zanichelli, Bolo-gna,1982

‘22_Plecnik house, Lubjana, Joze Plecnik, 1922from: “Joze Plecnik (1872 1957)” curated by Damjan Prelovsek, Electa, Milano, 2005

‘23_ Villa de Noailles, Paris, Robert Mallet Ste-vens and Pierre Chareau, 1920-1922from: “Rob Mallet-Stevens: la villa Noail-les”, curated by Cecile Briolle, Agnes Fu-zibet, Gerard Monnier, Parentheses, Mar-seille, 1990

‘24_House E1027, Roquebrune - Cap Martin, Alpes maritimes, southern France, Eileen Gray and Jean Badovici, 1924ph: “L’Architecture vivante” 1929.

‘25_Officiant house of Ressurence Chapel, Stocholm, Sweden, S. Lewerentz, 1925from: “Sigurd Lewerentz”, curated by Nico-la Flora, Paolo Giardiello, Gennaro Posti-glione, Colin St.John Wilson, Electa, Mila-no, 2002

‘26_Frankfurt Kitchen, Ginnheim-Höhenblick Housing Estate, Frankfurt am Main, Ger-many, Margaret Schutte Lihotzky, 1926from: www.dwell.com

‘27_Rue de Lota apartment, Paris, France, Ei-leen Gray, 1927from: designmuseum.orgph: Berenice Abbott

‘28_Maison de Verre, Paris, France, Pierre Chareau, 1928ph:Cliché Daniel Lebée, SDIG

‘29_Villa Müller, Prague, Czech Republic, Adolf Loos, 1929-1930from: “Casa Müller a Praga : Adolf Loos”, Giovanni Denti, Alinea, Firenze, 1999ph: Leonina Roversi

‘30_M. Charles de Beistegui Apartment, Paris, France, Le Corbusier, 1929-1930from: FLC-ADAGP

‘31_Villa Tugendhat, Brno, Czech Republic, Mies Van Der Rohefrom: “Casa Tugendhat : Ludwig Mies van der Rohe”, curated by Lorenzo Cremonini, Marino Moretti, Vittorio Pannocchia, Alinea, Firenze, 1997

‘32_Sala Pranzo, Villa Campiglio, Milan, Italy, Piero Portaluppi, 1932from: “Linea errante nell’architettura del Novecento”, curated by Luca Molinari, Piero Portaluppi Foundation, Skira, Milano 2003 ‘33_The bathroom, MOMA, New York, USA, Pierre bonnard, 1933from: www.ateliernet.blogspot.com

‘34_ House at Journalists Village, Milano, Italy, Luigi Figini, Gino Pollini, 1934from: “Terrazzo”, curated by V. Gregotti, G. Marzari, in “Luigi Figini, Gino Pollini. Opera completa”, Electa, Milano 1996

‘35_ Living Room, Kauffman House, USA, Frank Lloyd Wright, 1935from: Pfeiffer Brooks Bruce, “I Capolavori”, Milano, Rizzoli, 2000

‘36_Roberto Sarfatti Memorial, Asiago, Italy, Giuseppe Terragni, 1936from: tumbaymonumento.com

‘37_

Munkkiniemi house, Finland, Alvar Aalto, 1937from: “Aalto: architecture and furniture”@The Museum of modern art

‘38_Villa Mairea, Noormarkku, Finland, Alvar Aalto, 1937-1939from: “Alvar aalto : Villa Mairea, Noormar-kku, Finland : 1937-39”, edited and photo-graphed by Yukio Futagawa, text by Juhani Pallasmaa, A.D.A. Edita, Tokyo, 1985

‘39_Modernist fazenda, Capuava, Sao Paolo, Flavio de Carvalhoph: ateliernet.blogspot.com.

‘40_Roof, Malaparte Villa, Adalberto libera, 1936-1940from: “le Mèpris”, by Jean Luc Godard, 1963

‘41_Bar of a students housing, Zurich, Hans Baumgartner, 1941from: “Atmosfere”, Peter Zumthor, Electa, Milano, 2008, p.18

‘42_Donne che trasportano il pane, Vrin, Ernst Brunner, 1942@ Erns Brunner collection, Baselfrom: “Atmosfere”, Peter Zumthor, Electa, Milano, 2008, p.12

‘43_Ballroom House, Pampulha, Belo Horizon-te, Brazil, Oscar Nyemeier, 1943from: “blueprintmagazine uk” by Luisa Lambriph: Luisa Lambri

‘44_House of Ada and Cesare Minola, Turin,

Italy, Carlo Mollino, 1944from: atom-a.com

‘45_ Maharishi Mahesh Yogi’s Ashram_Rishi-kesh, Uttar Pradesh, India, 1945from: ateliernet.com

‘46_Natura morta, Giorgio Morandi, 1946 from: photographic archive of MART, Ro-vereto

‘47_Barragán’s House, Calle Ramìrez, Mexico City, Luis Barragan, 1947-1948ph: © Armando Salas, Portugal-Barragán Foundation, Switzerland

‘48_Artigas House, Sao Paulo, Brazil, João Ba-tista Vilanova Artigas, 1948-1949.

‘49_Cabanon, Roquebrune - Cap Martin, Fran-ce, Le Corbusier, 1949from: FLC/ADAGPph: Olivier Martin-Gambier, 2006

‘50_House of Glass, Sao Paulo, Brazil, Lina Bo Bardi, 1950from: archivio IUAV

‘51_Miss Monorama Sarabhai Villa, Ahmeda-bad, India, Le Corbusier, 1951from: FLC-ADAGP

‘52_Foschi house, Milan, Vittoriano Viganò, 1952from: “Architettura : spazio primario”, by Carlo De Carli, Hoepli, Milano, 1982

‘53_

Model for a house, Werkbund, Berlin, Kae-te Glaeser, 1953from: ateliernet.com

‘54_Fireplace room, House for Caterina Marce-naro, Franco Albini, 1954from: domus 1955

‘55_Romanelli House, A. Masieri, B. Mo-rassutti, C. Scarpa, 1955from: “Bruno Morassutti : 1920-2008 opere e progetti”, curated by Giulio Barazzetta e Roberto Dulio, Electa, Milano, 2009

‘56_View from patio to kitchen, the House of the Future, Alison + Peter Smithson, 1956from: Daily Mail Ideal Home Show, London

‘57_“Colori e forme nella casa d’oggi”, Villa Olmo, Como, Italy, Achille and Pier Giaco-mo Castiglioni, 1957

‘58_Sky House, Tokyo, Kiyonori Kikutake, 1958from: “Minimum” Lotus 142, p.11ph: Shinkencchiku-sha

‘59_Valeria P. Cirell House, Sao Paulo, Brazil, Lina Bo Bardi, 1959from: archivio IUAV

‘60_Leme’s House, Sao Paulo, Brazil, Paulo Mendes Da Rocha

‘61_ Esherick house, Louis Kahn, USAfrom: “Buildings and projects, 1959-1961”, Louis I. Kahn, Garland, New York, London, 1987

‘62_Rotalinti House, Bellinzona, Svizzera, Au-relio Galfetti, 1962from: aureliogalfetti.com

‘63_Electromedical Set, Tomàs Maldonado, 1963from:Belvedere, Milano rende omaggio a Tomás Maldonado, il designer amico dell’ambiente di Francesco Massoniwww.Affaritaliani.it

‘64_House in withe, Japan, Kazuo Shinoara, 1964from: “Kazuo Shinoara: 17 Houses”, Riz-zoli ‘65_“LA CASA ABITATA”, Palazzo Strozzi, Flo-rence, Achille and Pier Giacomo Castiglio-ni, 1965

‘66_“Acast of the space under my chair”, Bruce Nauman, 1966

‘67_Villa Califfa, Santa Marinella, Roma, Luigi Moretti, 1967from: “La torre delle camere da letto” in “Lu-igi Moretti”, curated by Salvatore Santuc-cio, Zanichelli, Bologna, 1986, p.168

‘68_Water Table, Isamu Noguchi, 1968ph: ©Isamu Noguchi Foundation, New York

‘69_ Tomie Ohtake house, Sao Paulo Brazil, Ruy Ohtake, 1969from: ruyothake.com

‘70_

The Nakagin Capsule Tower, Ginza, Tokyo, 1970, Kisho Kurokawaph: © Tomio Ohashi

‘71_Abitacolo, Bruno Munari, 1971from: “Da cosa nasce cosa: appunti per una metodologia progettuale”, Bruno Mu-nari, Laterza, Roma, Bari, 1981

‘72_Twelve Ideal Cities, Superstudio, 1972from: “Superstudio” curated by Roberto Gargiani, Beatrice Lampariello, GLF editori Laterza, Roma, Bari, 2010

‘73_Total Furnishing Unit, Joe Colombo, 1973from: “Joe Colombo: design antropologico” curated by Giovanni D’Ambrosio, Torino, 2004.

‘74_Serpentone, Cini Boerifrom: “Cini Boeri: architetto e designer” cu-rated by Cecilia Avogadro, Silvana, Cinisel-lo Balsamo, 2004

‘75_Disegno di una porta per entrare nell’om-bra, Ettore Sottsass, 1972-1978from: “Ettore Sottsass, Metafore”, curated by Milco Carboni e Barbara Radice, Skira, Milano, 2002

‘76_House in Kamiwada, Okazaki, Aichi, Ja-pan, Toyo Ito, 1976from: www.toyo-ito.co.jp

‘77_Social Housing in Quinta da Malagueira, Evora, Alvaro Siza, 1977from: “El Croquis 68 69 + 95”, ElCroquis Editorial, Madrid, 2007, p.76

‘78_

Pernigotti Home, Milan, Italy, AG Fronzoni, 1978from: “Minimalist Architecture” by Franco Bertoni ph: Aldo Ballo

‘79_F.Gehry house, Santa Monica, California, Frank Gehry, 1978-1979

‘80_Gilardi House, Mexico City, Lui Barragan, 1980ph: © Armando Salas, Portugal-Barragán Foundation, Switzerland

‘81_House of energy, michael Jantzen, 1981-1982from: www.ateliernet.com

‘83_House in Quinta do Lago, Algarve, Portu-gal, Eduardo Souto de Moura, 1982-1983from: “Eduardo Souto De Moura” curated by Antonio Esposito and Giovanni Leoni, Electa, 2005

‘84_ Contact series, Gabriele Basilico, 1984from: “Contact”,fotografía Polaroid in nega-tivo, 1984ph: © Gabriele Basilico

‘85_Ramot housing complex, Jerusalem, Israel, Zui Hecker, 1985 ‘86_Silver Hut Residence, Nakano-ku, Tokyo, Japan, Toyo Ito, 1986from: www.toyo-ito.co.jp

‘87_Alcaneva House, Torres Novas, Portugal,

Eduardo Souto de Moura, 1982-1984from: “Eduardo Souto De Moura” curated by Antonio Esposito and Giovanni Leoni, Electa, 2005

‘88_House in Porto, Portugal, Fatima Fernan-des and Michele Cannatà, 1988-1989from: www.cannatafernandes.com

‘89_Neuendorf Villa, Mallorca, Spain, Claudio Silvestrin and John Pawson, 1988-1989from: “Minimalist Architecture” by Franco Bertoni ph: Aldo Ballo

‘90_ Crate House, Allan Wexler, 1990from: allanwexlerstudio.it

‘91_Grey Clam, interactive sculture, Jene High-stein, 1991ph: Anders Norrsell

‘92_Villa in the forest, Chino, Nagano, Japan, Kazuyo Sejima, 1992-1993 from: “El Croquis 77, Kazuyo Sejima 1988-1996”

‘93_House in Paros, Greece, Aurelio Galfetti, 1993-1994from: aureliogalfetti.com

‘94_The Vinyl Milford, Allan Wexler, 1994from: allanwexlerstudio.it

‘95_Living Unit_Andrea Zittel, 1994-1995from: inhabitat.com

‘96_

Sea of japan, Tokyo, Japan, Hiroshi Suji-moto, 1996ph: Hiroshi Sujimoto

‘97_Maison a Bordeaux, France, Rem Koolha-as, 1997ph: Hans Werlemann© All rights reserved

‘98_Extension of the charcoal-burner’s hut, Santa Rosa, Chile, Smiljan Radic + Marce-la Correa, 1998from: www.eartharchitecture.org

‘99_Tea house, Japan, Terunobu Fujimori, 1999-2003from: www.archiportale.com

‘00_House in a plume grove, Tokyo, Japan, SA-NAA, 2000-2003from: “El Croquis 99 - Kazuyo Sejima-Ryue Nishizawa 1995-2000”