i.SPACES

i.SPACESby Olivia Giselle Sofronie

Didactic exerciseFall Semester2010

Interior worlds: “i.SPACES”

Main EditorGennaro Postiglione

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

EditorOlivia Giselle Sofronie

only for pedagogic purposenot for commercial use

INDEX

00_i. SPACEby Paolo Giardiello

01_Palzzo Castiglioni

02_Ryabushinsky House

03_Beurs van Berlage

04_Kirche am Steinhof

05_Garage in Rue de Ponthieu

06_Villa Karma

07_Vertigo

08_Fantasmagorie

09_Payne Whitney House

10_Casa Milà

11_Palazzo Berri-Meregalli

12_Ice Mask

13_Grand Central Station

14_Melancholy and Mystery of a Street

15_Imperial Hotel

16_Villa at Huis ter Heide

17_Metropolis

18_D.L. James House

19_Merzbau

20_Tatlin’s Tower

21_Hangar d’Orly

22_Kings Road House

23_Transverse Line

24_Zig Zag Chairs

25_Zeiss Planetarium

26_Door

27_Completed

28_Goetheanum

29_Nestlé

30_Salginatobel Bridge

31_Aluminaire

32_Exhibition of the Decade

33_Kirche am Hohenzollernplatz

34_Fallingwater House

35_Hand with Refl ecting Sphere

36_Uffi ci Montecatini

37_Lichtdom

38_The Kiss Gate

39_Walter Gropius House

40_Woodland Crematorium

41_Frey House

42_Nighthawks

43_St. Francis Church

44_Loewy House

45_World War II

46_Unite d’Habitation

47_Rose Summer House

48_Atomicus

49_Glass House

50_General Motors Technical Center

51_Farnsworth House

52_Walker Guest House

53_Golconda

54_IKEA

55_Museo Castelvecchio

56_Bugler’s Nephews

57_Superleggera

58_Dulles Airport

59_Salk Institute

60_Triple Self Portrait

61_The Walking Man

62_Bordando el Matro Terrestre

63_Linear construction no.4

64_Walking City

65_Environment-bubble

66_Cuadra San Cristóbal

67_US Pavilion at Expo ‘67

68_House 1990

69_The Pack

70_Misura

71_TV Cello

72_Cylindrical Infl atable House

73_Time Capsules

74_Splitting

75_Neon

76_VOAEX

77_The New York Earth Room

78_Steel House

79_Ghost Parking Lot

80_Three fi gures and four benches

81_Av stagg Art

82_Reno Dakota

83_Hundertwasserhaus

84_Exhibit

85_Dan Perjovschi

86_Laurie Mallet House

87_Gaulino

88_Parkour

89_La Vilette

90_Flor da Rosa

91_Kinetic Sculpture

92_Ardi

93_Miller/Jones Studio

94_Luci Bianche

95_Kolonihavehus Installation

96_Symbiosis

97_Santa Caterina Market

98_Issey Miyake

99_Tara

OWN i_i.SPACE

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

Eliade claims that the notion ‘to en-close’ in primitive societies derived from a cosmology ‘to protect oneself from the unknown, invisible world that unfolds outside the enclosed area.’ Therefore Marc Augé defi nes the non-places, as spaces of relationship, poli-functional and symbolic containers, that cannot be defi ned on the basis of their identity. Eliade mentions. ‘symbolic thinking cannot be severed from human existence. The reason is because it ex-isted before language was developed.’ The mere role of ‘user’ that a man gets in non-places is redefi ned by the evolu-tion of spaces into superspaces and ip-erspaces. The transition is made through the path of the iSpaces, a term proposed exactly for indicating the social experi-ence nowadays. Rethinking the mean-ing of spaces as virtual spaces – Google

i.SPACESPaolo Giardiello

Abstract

Talk, Facebook, Twitter, Youtube, Vimeo, Flickr, My Space, E-bay – and invert- ing their meaning is what iSpaces talks about. Spaces defi ned by interactivity fusion into a more independent, imagi-native and interesting approach to the places-to-be, physicaly constructed and accommodated in relationship with the people. ‘I’ can have - and gets - a lot of meanings created by the spaces in con-tinuous self-assessment from a topo-logical and anthropological perspective.

Paolo GiardielloUniversita degli Studi di Napoli “Federi-co II” (Italy)

It becomes necessary to coin a new term when it is impossible to commu-nicate a phenomenon or a thing with words that already exist, to give an ex-pressive, repeatable and concrete form and so a defi nition to a process. In trying to defi ne “interiors key-words”, we need to distinguish words which describe ac-tual phenomena, therefore “spaces or forms which express the future of the interiors in nuce” designed for the life of man, the words which describe the cur-rent or already consolidated phenomena with those terms which instead intend to communicate situations in evolution or even processes not yet fully shared or recognized. Having new verbal signs

represents new ways of living and could even contribute to the defi nition and pro-motion of contents for which there will be signifi cant expressions.The term which is proposed – iSpace – is not without roots and has a long and critical scientifi c path characterized by other words which were already known and used in the past. However, they are inadequate to indicate today’s transfor-mations and ongoing processes in which they exist and are used in a theoretical way, but are not always tangible. With iSpace we want to indicate the evolved, shared and socially useful form – therefore the prospect of pos-sible future development – declined in its own coherent and current language, not changed by other typologies or for-mal expressions, of those spaces of re-lationship, poli-functional and symbolic

Paper

containers, which our daily life is full of. These spaces have already been defi ned as non-places by Marc Auge and in their evolution and social expansion redefi ned as superspaces and iperspaces.Therefore, to understand these new terms, taken from daily technological language, it is necessary to reread the studies of the 80’s about spaces that were developed, forgetting the charac-teristics which make an empty space a lived one and a useful space a signifi cant and symbolic one.In 1986 Marc Auge coined the term non-places by which he meant all those places which are produced by super-modernity, which cannot be defi ned on the basis of their identity, relationships and historical aspects, characteristics which on the contrary determine the very concept of “space”. Even if Auge’s theories are referred to a social and eco-nomic situation that differs from the cur-rent one, they remain exemplary from an anthropological viewpoint, because they have succeeded in expounding, with great clarity and equally great con-cern, the danger of alienation and loss of personal values to which the individual is exposed. Moreover, his studies have highlighted the diffi culty of managing functional spaces which do not create an organic social event, but rather a con-dition of “solitary contractuality” which is defi ned not so much by the communi-cative impact of the architecture as by the “words” which slavishly describe en-vironments, suggesting behaviours and goals.Man’s role is reduced to that of a mere “user”, without any cultural and psycho-logical expectation, something which re-sults in a loss of identity.

A more recent neologism, superspacereinterprets the meaning of non-places within the context of a global society, based on new lifestyles and on com-pletely different expectations of social relationships, in the fi nal analysis revis-ing the judgment of value and relation with the territory. The superspace inter-prets the need to have immediate and complex, diversifi ed and simultaneous responses (solutions from public and collective places, both in the territory and in the historical space of the city); from an anthropological point of view it therefore represents the meeting of a need for a social space in which to con-sume the rites of everyday life. But these places, differentiated and contradictory, fail to put into words a symbolic aspect that may represent a model and image of the identity of the new social networks.The transition between the non-places analyzed by Auge and the present-day super-places is characterized by an in-ability to create new languages. Scenic effects prevail on substance, and rather than giving a concrete form to a new function, the architect creates a stage on which to live a dreamed reality which may serve as a noble background to the more pragmatic and material action of consumption, be it material or behav-ioural. The renunciation – cultural, social, and architectural – to defi ne a contem-porary form, in order to seek refuge in a design of ideal and idealized worlds and lifestyles, is the underlying cause of hy-perspaces. The last frontier area in which to meet, get to know one another, shop, fi nd infor-mation and enjoy exciting experiences. However, it is not a matter of real places, but of virtual dimensions, in which it is

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

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

functional events which come from tradi-tions, but which are at the same time to-tally adequate for the foundation of new-ly constructed realities and that therefore avoid returning to language and confor-mations belonging to the past.Future iSpaces will be places of transit, commerce and entertainment whose material form will always return to the new function they represent and where the articulation of spaces will consider the physical and psychological needs of users will be able to creatively use the relationship spaces, defi ning them and adjusting them to their own needs, moods and characters.They will be spaces where you can ex-periment sensations and emotions, and not where you are subjected and stimu-lated by publicity or other means of pro-motion; spaces where you can have your own personal choices and not where one’s solitude is amplifi ed, where you can communicate and meet, where you can study and bring into play your life experiences. All things considered a real, physical and tangible space, where it is possible to reconstruct dynamism, fl exibility and creativity that are embedded in “virtual places”, which defi ne and condition the new system of relationship and commu-nication today. For this reason the iSpace term has the suffi x “i” in addition to the concept of “space, place”. Starting from the very fa-mous Apple’s products, this suffi x is now a concept based on everything that sug-gests “interactivity”, and indicates instru-ments and ways that are more like “inter-faces”, which can relate and connect to others systems, rather than objects with a precise and determined function but

closed in its own raison d’être.As previously said, the interactivity im-plies that the user can choose, autono-mously construct the system of actions and information needed, adapting ob-jects or spaces as desired in order to never put up with conditionings, pre-packaged offers.The user, from passive viewer, from sim-ple user, becomes protagonist and actor of the choices he wants to make and of the character of the setting that he lives in. Thanks to a real interactivity, and not as a slogan, the places can to be differ-ent from user to user, from day to day, in that they are really “designed” for the occasion of each visitor.Spaces of interaction and exchange and therefore spaces that are very fl ex-ible and adaptable and not defi ned and absolute in which every desired or re-quested action can be achieved. At last, spaces full of personality, of “identity and relationship character” and no longer aesthetic concentrations of functions where people can do what they need to do, but fi nally signifi cant spaces where people can spend their free time crea-tively and free. A relational and identity character, how-ever based on new values that change the attention from typology and mor-phology of a space to its fl exibility and adaptability, from direct communication between the space and the user to the possibility of weaving new relationships and connections with the space you are in, while at the same time with other sim-ilar spaces with the same capability, from the delimitation of the defi ned function to the opening towards other needs and requirements through which it is pos-sible to understand reality and to com-

municate with others. We speak again of “spaces” to return to the original defi ni-tion suggested twenty or more years ago by Marc Auge, daily spaces, of the pre-sent where utopia can be cultivated and therefore the hope of designing a place which is fi t for everyone and capable of adequately narrating one’s life.

References

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

ATLAS

‘01/i.SPACE/inviting SPACE

Built by Giuseppe Sommaruga in 1867-1917, it‘s the artistic manifest of Art Nou-veau (‘liberty or fl oral style’), in Milan. The palace is both imposing and im-pressive, still giving the feeling that it in-vites you in, like a long forgotten castle. A building that transcends the time and re-defi nes itself in a new century.

‘02/i.SPACE/interesting SPACE

One of the Moscow’s most enjoyable Art Nouveau creations is the Ryabush-insky House (now the Gorky House Museum). Schechtel never committed himself to a single style. His Ryabush-insky House combines the internation-alized, refi ned Art Nouveau with the grand and monumental vision of Mos-cow in the belle époque.

‘03/i.SPACE/insightful SPACE

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

‘04/i.SPACE/ inspiring SPACE

The refi nement of Koloman Mo-ser can be seen in the mosaics and stained glass that decorate the Kirche am Steinhof, situated 310 me-ters above sea level and built by Otto Wagner. The artist was one of the foremost artists of the Vienna Seces-sion movement and exerted consid-erable infl uence on twentieth-century graphic art.

‘05/i.SPACE/industrial SPACE

Reinforced concrete combines the monolithic compressive strength of concrete with the tensile strength of steel rods. The structural frame, in addition, creates point supports that eliminate stationary, load-bearing par-titions within the apartments, and this results in potentially fl exible, open plans. The facade of the garage is an exposed reinforced-concrete frame fi lled in with glass and arranged ac-cording to classical rules rather than by inner structural logic. Its stark rec-tangularity and openness stand for the industrial fi rst-sight appearance.

‘06/i.SPACE/integrated SPACE

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

‘07/i.SPACE/identity SPACE

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

‘08/i.SPACE/illusion SPACE

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

‘09/i.SPACE/imposing SPACE

Designed in the style of the high Ital-ian Renaissance, the building stands as one of the great architect’s fi nest mature works. The space refl ects an abundance of the decorative ele-ments, highlighting the imposing char-acter of the building.

‘10/i.SPACE/ingenuous SPACE

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

‘11/i.SPACE/introductive SPACE

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

‘12/i.SPACE/ice SPACE

A memorable image from the Austral-ian photographer Frank Hurley, that presents the fi gure of C.T. Madigan in the fi rst Australasian Antarctic Ex-pedition. The low temperature, the cold weather, creates a safe space by inserting a layer of protective ice between the inner human organism and the inert organism of surrounding nature. An instant of an entire experi-ence, immortalized as a rich space of life kept still inward.

‘13/i.SPACE/interaction SPACE

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

‘14/i.SPACE/interwoven SPACE

Interwoven light and darkness, the cracked sky opened to expose the electricity here. A gold sun bathed set-ting, a metaphysic environment, with elements that seem to be on the can-vas long before their time. The paint-ing becomes poetry by condensing voluminous feeling through metaphor and association, contracting the near and the far, enchanting one’s sense of space.

‘15/i.SPACE/imperial SPACE

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

‘16/i.SPACE/inside-outside SPACE

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

‘17/i.SPACE/iminent SPACE

The painting made by George Grosz expresses the tension of a space, ar-ticulated through the use of vibrant colours and through the story it en-lightens. Nevertheless, the intrigue gets to group the interior and the ex-terior of the frame, as we can easily observe elements from both the pri-vate setting and from the outdoor sur-roundings.

‘18/i.SPACE/in the outside SPACE

Creative and ambitious, the James house is a unique monument. The ma-terial of which is constructed is practi-cally the same rock as that upon which it is built. The long narrow pieces of this stone have been cut into horizon-tal fi ssures by very deeply struck joints of uneven width, creating an interest-ing space full of personality and im-pulse.

‘19/i.SPACE/impulsive SPACE

A rambling and ever-changing ag-glomeration of architectural elements and found objects, a collage of ma-terials and sculptural forms affi xed to the existing architectural structure and later emerging from holes the art-ist cut into the ceiling and fl oor. The space founds visual poetry in the cast-off junk modern society and used the detritus as the core of the metabolism of the created space with no defi ned borders or limits.

‘20/i.SPACE/issued SPACE

The utopian project of the Third Com-munist International stands as a sym-bol for the Russian avant-garde archi-tecture and International Modernism. The unique shape of the steel struc-ture is founded on the artist’s concept of “real materials in real space”, em-phasizing the design principles based on the inner behaviour and loading ca-pacities of the material.

‘21/i.SPACE/integral SPACE

The building envelope of the two hangars, destroyed in WWII by Ameri-can aircrafts, was made up of a series of parabolic arches, each formed in the shape of a vault, that when con-nected, created an undulating pattern, similar to that of corrugated card-board. The design of the structure al-lowes for a free expression of mate-rials and spaces while working within the limits of technology.

‘22/i.SPACE/implicit SPACE

Serving as prototype for a distinctly Californian style of design, the build-ing was meant to be a coopera-tive live/work space for two young families. Built on a fl at concrete slab, which is both the foundation and the fi nal fl oor, the house has concrete tilt up slabs walls, poured into forms on top of the foundation. In this construc-tion, the architect expresses his phi-losophy about structure and materials most clearly, but the entire site dem-onstrates his exploration of the rela-tionship of space, light, and form.

‘23/i.SPACE/inherent SPACE

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

‘24/i.SPACE/ inside out SPACE

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

‘25/i.SPACE/infi nite SPACE

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

‘26/i.SPACE/identical SPACE

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

‘27/i.SPACE/impartial SPACE

The inner life of a modern soul is the foundation of the spirit of this work. A meditation on Nature in a surrealist vi-sion, exploring the integrity of the dis-integrated space. Poetic, simple but profound, the painting reverences be-fore the philosophy of every life jour-ney.

‘28/i.SPACE/independent SPACE

Characterized by a liberation from traditional architectural constraints, the architecture of the Second Goe-theanum achieves organically expres-sive forms. Intended to be a Gesamt-kunstwerk (the synthesis of diverse artistic media and sensory effects), infused with spiritual signifi cance, it then became a defi nite and independ-ent space, full of meaning and power of intentionality.

‘29/i.SPACE/information SPACE

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

‘30/i.SPACE/interconnecting SPACE

Over the Rhine, as an outstanding en-gineering feat and modern work of art, the Salginatobel Bridge has an almost magical attraction to experts and art-ists alike since its completion in 1930. Declared a “world monument”, its visual elegance goes together with its technical brilliance, exploring the nat-ural environment in which it is settled and thus completing the panoramic view of the space.

‘31/i.SPACE/intercepting SPACE

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

‘32/i.SPACE/impressive SPACE

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

‘33/i.SPACE/impact SPACE

The complete appearance is a good eye-catching fl ank to the eastern side of the square of Hohenzollernplatz. The basic structure of the church is a concrete skeleton, clad by the fa-çades, fi nely structured on the long sides and of even masonry on the nar-row sides, all in clinker brick. This form that evoked certain mysticism and the modern as well as voluminous appear-ance earned the church the nickname Powerhouse of God.

‘34/i.SPACE/ingenue SPACE

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

‘35/i.SPACE/in a hand SPACE

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

‘36/i.SPACE/infl uent SPACE

Manifest of Italian modern architecture and monument of the new working so-ciety, the palace is the representation of the industrial space on the adminis-trative buildings. Drawing the model of industrial architecture, the construc-tion becomes a fl exible enclosure of the human needs. Ponti intended to harmonize form with function, in order that his buildings be exemplars of the correct use of materials.

‘37/i.SPACE/illuminated SPACE

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

‘38/i.SPACE/instance SPACE

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

‘39/i.SPACE/inhabiting SPACE

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

‘40/i.SPACE/implicit SPACE

The chapel is made to centre on its essential meaning, round the diffi cult moment of parting. The focal point is occupied by the catafalque and cof-fi n. The entire fl oor of the big Chapel of the Holy Cross is hollowed out to-wards the coffi n, which is lowered by means of a lift when the ceremony is over. Completing the landscape, the monumental quality was deliberately reserved for the 'Biblical' setting.

‘41/i.SPACE/intuitive SPACE

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

‘42/i.SPACE/introspection SPACE

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

‘43/i.SPACE/indulgent SPACE

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

‘44/i.SPACE/ideal SPACE

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

‘45/i.SPACE/imperfect SPACE

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

‘46/i.SPACE/indiscret SPACE

The giant, twelve-story apartment block is the late modern counterpart of the mass housing schemes of the 1920s, similarly built to alleviate a se-vere postwar housing shortage. The precast individual apartment units are slotted into a rectilinear ferroconcrete grid like ‘bottles into a wine rack’ as the architect put it. The element ob-tained is a compound one, like a pix-ilated virtual space, and this can be easily recognized in the ordering fac-tors of the interior, like the colored doors on the corridor.

‘47/i.SPACE/indigenous SPACE

Thought as a transition space between the natural context and the private in-tervention, the sundeck provides an optimal space in order for people to enjoy the exterior while being con-nected with a safe, comfortable en-vironment. We can easily identify a unifying color scheme throughout the house which extends outside, con-necting the interior with the exterior space.

‘48/i.SPACE/inert SPACE

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

‘49/i.SPACE/inward SPACE

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

‘50/i.SPACE/infatuated SPACE

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

‘51/i.SPACE/imperceptible SPACE

The Farnsworth house is a statement of the spatial and architectural con-cerns that guide van der Rohe’s work. His vision contained in a pure expres-sion of its age was that of a transpar-ent house in a verdant landscape. The open plan, with its intimation of an infi -nite freedom of movement, opens the space as an organizing factor of the regularity of the building.

‘52/i.SPACE/injected SPACE

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

‘53/i.SPACE/ imaginative SPACE

The scene of men fl oating like helium balloons in a suburban environment seduces the viewer from the fi rs mo-ment. A pattern appears against a backdrop of buildings and blue sky, and a hexagonal grid may be read. The sincerity of the artist is not childish, but deep and signifi cant for the ones that believe in it.

‘54/i.SPACE/idea SPACE

It is a place that guides and teaches one to live high and to discover more room by thinking of every surface in their interiors as a usable space, pro-viding multiple functions for the stand-ard objects of everyone’s life. In this way, the products and the solutions proposed squeeze more space out of any room, regardless of size, by or-ganizing it into functional zones that come and go as required.

‘55/i.SPACE/interogating SPACE

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

‘56/i.SPACE/intentional SPACE

The theatre show is rarely a style de-signer. With a synthetic character, the theatre is to be listened and under-stood, in an osmotic space kept be-tween physics and metaphysics.

‘57/i.SPACE/imponderable SPACE

Both visual and literal, the design of Gio Ponti’s iconic chair brings with it an injection of weightlessness, an ex-periment that makes the space around seem light and close to perfection. Working as a catalyst, the concept of Superleggera put in a simple object warps the space and determines a new perspective of the balance be-tween solidity and lightness.

‘58/i.SPACE/intense SPACE

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

‘59/i.SPACE/indelibly SPACE

The institute manifests beauty of mind and act; of the resolution and articula-tion of the major elements of the build-ing...being what it wants to and needs to be, to the precise detail and execu-tion of beautiful concrete surfaces. The central court, as a typical Kahn-like space of shimmering blue water, a band pointing toward the ocean epito-mizing what human endeavor can ac-complish at one scale with geometric clarity and authoritative but modest deliberation, to give to the scaleless sweep of the ocean, here the Pacifi c, a poignant gesture.

‘60/i.SPACE/impersonal SPACE

Norman Rockwell’s painting is about the act of observing and record-ing images and is also a statement about the art of the self-portrait. The circumstance is divided and then re-assembled on the canvas as the art-ist himself becomes both audience and performer in a multi-dimensional space throughout time.

‘61/i.SPACE/inverted SPACE

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

‘62/i.SPACE/inception SPACE

A number of frail girls with heart-shaped faces are caught in a confi ned tower, embroidering a kind of tapestry which spills out the slit windows and into a void, seeking hopelessly to fi ll the void. It is a space that generates another space, a layer that emerges and creates a predefi ned setting of powerful consistence.

‘63/i.SPACE/intersection SPACE

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

‘64/i.SPACE/interpretative SPACE

The futuristic view of a new reality is solely expressed through a hypotheti-cal project that experiments with mod-ular technology. It is thus described a mobile setting, light weight, a combi-nation of insect and machine, like a space capsule that offers a seductive vision of a glamorous future machine age.

‘65/i.SPACE/invisible SPACE

The idea of the project is to give eve-ryone a standard of living package containing all the necessities of mod-ern life: shelter, food, energy, televi-sion, in a location that does not con-strains men by past settlements. The increased ephemerality leads to the furthest limit of controlled space with lots of alternatives of transformation.

‘66/i.SPACE/intimate SPACE

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

‘67/i.SPACE/intriging SPACE

The imposing memorable structure that enclosed the US pavilion seems to fl oat above the fairgrounds like an enormous silver bubble. Sparkling in the sunlight during the day and catch-ing a varied-color glow when darkness fell, the acrylic skin hosts a space that makes you aware of yourself, an im-pulsive space of reinvention.

‘68/i.SPACE/intelligent SPACE

A fully automated user-controlled en-vironment in which walls, ceilings and fl oors could be changed according to the inhabitant’s desires. The construc-tive elements act like “conditions” , designing a space defi ned by motion, fl exibility, self-suffi ciency and inde-pendence through automation. An at-mospheric experience that stands for the design envelope process of the space.

‘69/i.SPACE/imperative SPACE

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

‘70/i.SPACE/indispensable SPACE

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

‘71/i.SPACE/intervention SPACE

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

‘72/i.SPACE/infl ated SPACE

With the advent of the space age, in-fl atable environments gave the impres-sion of infi nite movement in space. We refer to enclosures that contributed to a sense of carry-and-go freedom to-wards the fi nal frontier of understand-ing the unlimited space. The boundary between interior and exterior becomes a mass, made up of random molecules of oxygen strung together in an intri-cate, invisible pattern.

‘73/i.SPACE/investment SPACE

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

‘74/i.SPACE/incidental SPACE

Formed outside the parameters of gal-lery presentation, the works of Matta-Clark combine Minimalism and Sur-realism with urban architecture. Using abandoned buildings for his medium and wielding a chainsaw as his instru-ment, he cut into structures, creating unexpected apertures and incisions. The light from the incision made in the split house invades the interior and unites the rooms with a swath of brilliance, re-creating the disorienting experience of the unprecedented de-struction.

‘75/i.SPACE/inconsistent SPACE

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

‘76/i.SPACE/insoluble SPACE

Deconstruction is all around us and it runs through all of the twentieth cen-tury. The asphalt sculpture in the form of a car takes into account the view-er’s entire sensory experience, leaving space and time as its only dimensional constants. This implies dissolution be-tween art and life, taking nature itself as a model or point of departure, de-vising a new kind of art out of ordinary life.

‘77/i.SPACE/irrigated SPACE

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

‘78/i.SPACE/impertinent SPACE

The expressionistic, cathedral-like in-terior of Bruno’s self-built home dem-onstrates a contemporary tendency toward personal fantasy. Although the project does not excel in architec-tural quality, it has a mysterious form, something of a re-assembled old sub-marine or a strange-piece of an old Star Wars fi lm that triggers iconogra-phy and generates a customized and fl exible space inside an analogue large object.

‘79/i.SPACE/imune SPACE

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

‘80/i.SPACE/interview SPACE

Without being monumental or impos-ing, the environment includes fi gures cast from live models, not standing on a pedestal, but on real benches, in our space. The ordinary people placed in an urban setting express the loneli-ness and tensions of modern life, cap-turing the paradox of individual soli-tude in the midst of populous spaces of interaction.

‘81/i.SPACE/invading SPACE

The Av Stagg and Wildlife preserve is comprised of a series of structures built from glass bottles, beer cans, corrugated metal, scrounged brick, concrete and chain-link fence, and it’s held together with bolted steel wire rather than nails. An intuitive con-struction, populated with giant taper-ing towers that resemble DNA strands and minimalist structures, acting like a independent space that leads to inno-vation and art.

‘82/i.SPACE/imprinted SPACE

Looking at the world as a potential stage design, Reno Dakota creates from the interior of its own apartment an eclectic space, composed by lay-ers of wallpapers with contrasting patterns, fi tted into glided, blind mold-ings. The fl oral patterned wallpapers vibrate against geometric patterned wallpapers, as demure, tasseled fur-niture provides the only rest for the eyes. In his opinion, the look of decay reminds one that humankind will inevi-tably lose everything to the forces of nature.

‘83/i.SPACE/inventive SPACE

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

‘84/i.SPACE/instilling SPACE

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

‘85/i.SPACE/illustrated SPACE

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

‘86/i.SPACE/immaterial SPACE

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

‘87/i.SPACE/individual SPACE

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

‘88/i.SPACE/interactive SPACE

To some people, a building is just a place to work or live in; to others it’s part of a stunt track. For the free run-ners, the city is one huge playground, as they see their antics as a mind game, pushing the boundaries in their own minds and challenging any ob-stacle the city presents. More than the others, they are the ones that experi-ence the space at its maximum value and fi nd in it the potential of improve-ment.

‘89/i.SPACE/insistent SPACE

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

‘90/i.SPACE/into the stone SPACE

At fi rst sight, the complex is labyrin-thine. Then the span and the height of the church reveal themselves, its stones and their relationships. Frag-ments from different periods sit uneas-ily side by side, united by the granite. In spite of all the works of interven-tion and alteration during decades, what we fi nd today seems to be close to perfection. Perfect as an object to be visited and contemplated. The old monastery, turned into a pousada, teaches us to see into the stones, oc-cupying the space as little as possible, rereading it and opening it up to new readings.

‘91/i.SPACE/isolated SPACE

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

‘92/i.SPACE/immobile SPACE

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

‘93/i.SPACE/instinctive SPACE

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

‘94/i.SPACE/improved SPACE

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

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

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

‘96/i.SPACE/installation SPACE

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

‘97/i.SPACE/innovative SPACE

A huge, undulating canopy covers an existing, former rundown neo-clas-sical market in a large square within sight of the gothic cathedral. A magi-cal balance between local producers and consumers, contemporary archi-tecture and tourism that creates an interactive space, overshadowed by the fl uidity and playfulness of the cov-ering.

‘98/i.SPACE/irreproducible SPACE

The project was meant to provide lighting without imposing it in the in-terior area, but at the same time trans-mitting a fresh and joyful image akin to the designs presented. The space is fi lled with an entire atmosphere, all the structure fl oating above the catwalk turning the space into a non-repro-ducible realm of art.

‘99/i.SPACE/impolite SPACE

The Living Unit pavilion presents a minimum living space equipped with minimal furniture: a cardboard fold-ing bed, a work table and a system of different colored wardrobe aluminum units. The system refl ects the phi-losophy of compact, light, mobile and transparent space that plays a role as an independent, free and timeless main protagonist of the city.

‘OWN_i/i.SPACE/impossible SPACE

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

REFERENCES

‘01-’04Palzzo Castiglioni, Milan (Italy)Giuseppe Sommarugahttp://artnouveau.pagesperso-orange.fr/en/villes/milano.htm

‘02-’00vvv, Moscow (Russia)Fyodor Schechtelhttp://www.fl ickr.com/photos/mar-niepix/2846913305/

‘03 (1986-)Beurs van Berlage, Amsterdam (Netherlands)Hendrik Petrus Berlagehttp://en.wikipedia.org/wiki/Beurs_van_Berlage

‘04-’07Stained glass at Kirche am Steinhof, Wien, (Austria)Otto Wagnerh t tp : / / www.v i enna fo rb eg inne r s .com/2009/04/postcards-from-abroad-roman-spring_02.html

‘05-’06Garage rue de Ponthieu, Paris (France)Auguste Perretht tp : / / s tewzannepar i s .b log spot .com/2010_07_01_archive.html

‘06Villa Karma, Montreux (Switzerland)Adolf LoosA Century of Interior Design, Stanley Ab-ercrombie, Rizzoli, New York, 1997, p.32

‘07VertigoLéon SpilliaertHostyn, N., & Spilliaert, L. (2006). Léon Spilliaert: Leven en werk : doorheen de verzameling van het Museum voor Schone Kunsten Oostende, p.87-88

‘08Fantasmagorie (France)Emile Cohlhttp://www.youtube.com/watch?v=a EAObel8yIE

‘09 (‘06)Payne Whitney HouseMcKim, Mead & WhiteA Century of Interior Design, Stanley Ab-ercrombie, Rizzoli, New York, 1997, p.38

‘10 (’05-)Casa Milà, Barcelona (Spain)Antoni GaudìSennott, Stephen, Encyclopedia of XXth century architecture, Taylor & Francis

‘11Sculpture in the lobby of Palazzo Berri-Meregalli, Milan (Italy)Alfonso Widthttp://www.info2015expo.it/index.php?/

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

‘13Grand Central Station, New York (USA)Reed&Stem, Warren&WetmoreA Century of Interior Design, Stanley Ab-ercrombie, Rizzoli, New York, 1997, p.41

‘14Melancholy and Mystery of a StreetGiorgio de Chiricoh t t p : / / p a l a d 1 n . c o m / a r c h i v e s /date/2007/02/‘

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

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

‘17Metropolis (Germany)George Groszhttp://www.usc.edu/schools/annenberg/asc/projects/comm544/library/imag-es/319.html

‘18-’22D. L. James HouseGreene and GreeneRoger H. Clark and Michael Pause. Precedents in Architecture. New York: Van Nostrand Reinhold, 1985, p 201

‘19-’37Merzbau, Hannover (Germany)Kurt SchwittersCourtenay Smith, Annette Ferrara: Xtreme Interiors, Prestel, 2003, p.14

‘20Tatlin, Moscow (Russia)Vladimir Yevgrafovich Tatlin

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

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

‘22Kings Road HouseRudolf SchindlerMitchell, Sean: “The best houses of all time in L.A.”, Los Angeles Times, 2008

‘23Transverse lineWassily Kandinskyhttp://www.abstract-art.com/abstrac-tion/l2_grnfthrs_fl dr/g029b_kandinsky_tr_ln.html

‘24”Zig Zag” ChairGerrit RietveldGerrit Rietveld Compl. Works, M. Kuper and I. Van Zijl, 1996, p.54

‘25 (‘24-)Zeiss Planetarium, Jena (Germany)Walther BauersfeldChartrand, Mark. “A Fifty Year Anniver-sary of a Two Thousand Year Dream”. re-printed from the Planetarian, Sept. 1973

‘26Door, Paris (France)Marcel DuchampJoseph Masheck: Marcel Duchamp in perspective, p.8

‘27CompletedPaul Kleehttp://www.archipelagobooks.org/bk.php?id=14

‘28 (’24-)Second Goetheanum, Dornach (Swit-zerland)Rudolf Steinerht tp : // f arm4.s tat i c . f l ickr.com/3 170/3035305886_45e64bb0c7.jpg

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‘30 (‘29-)Salginatobel Bridge, Schierz (Switzer-land)Robert MaillartSir Banister Fletcher. A History of Ar-chitecture. London: The Butterworth Group, 1987, p.1266-1267

‘31Aluminaire, Syosset, Long Island (USA)Albert Frey, A.Lawrence Kocherhttp://en.wikiarquitectura.com/index.php/Aluminaire_House

‘32Exhibition of the Decade, Rome (Italy) Adalberto LiberaHistory of Modern Architecture course, prof. Sorin Vasilescu, UAUIM, ‘09-’10

‘33 (‘30-)Kirche am Hohenzollernplatz, Berlin-Wilmersdorf (Germany)Ossip Klarwein, Fritz HögerSibylle Badstübner-Gröger, Michael Bollé, Ralph Paschke, Handbuch der Deutschen Kunstdenkmäler: Berlin and Munich: Deutscher Kunstverlag, Berlin, p.496

‘34-’39Fallingwater House, Mill Run, Pennsyl-vania (USA)Frank Lloyd Wright

http://www.techviva.com/frank-lloyd-wright-fallingwater-lego-set-27016.html

‘35Hand with refl ecting sphereM.C. Escherhttp://www.meridian.net.au/Art/Artists/MCEscher/Gallery/

‘36-’38 Uffi ci Montecatini, Milan (Italy) Gio PontiPonti, Gio, “In Praise of Architecture”, NY: F.W. Dodge Corporation, 1960. Library of Congress, p.138

‘37Lichtdom, Nurenberg (Germany)Albert Speerhttp://www.kubiss.de/kulturreferat/reich-sparteitagsgelaende/englisch/zeppelin-feld.htm

‘38The Kiss Gate, Tg. Jiu (Romania)Constantin Brancusihttp://cosminfoto.blogspot.com/2009 /02/happy-birthday-constantin-brancusi.html

‘39Walter Gropius House, Lincoln, Massa-chusetts (USA)Walter Gropiushttp://www.robertdamora.com/

‘40 (‘35-)Woodland Crematorium, Stockholm (Swe-den)Erik Gunnar Asplundhttp://www.greatbuildings.com/buildings/Woodland_Crematorium.html

‘41-’43Frey House, Palm Springs, California, (USA)Albert Freyhttp://en.wikiarquitectura.com/index.php/Frey_House

‘42NighthawksEdward Hopperhttp://www.artic.edu/aic/collections/ex-hibitions/hopper/index

‘43Saint Francis Church, Pampulha (Bra-zil)Oscar Niemeyerh t tp : / / s ub t l ed es ig ne r.b lo g s po t .com/2010/ 10/pampulha.html

‘44-’46Loewy House, Palm Springs, California (USA)Albert Freyhttp://www.raymondloewy.org/gallery/house_ext_ps.html

‘45 (‘39-)World War IIThe Allies and The Axishttp://en.wikipedia.org/wiki/World_War_II

‘46-’52Unite d’Habitation, Marseilles (France)Le CorbusierPersonal Archive - Cristina Neagu, 2010

‘47Rose Summer House, Lake Placid, New York (USA)Robert Allen Jacobshttp://www.robertdamora.com/

‘48AtomicusSalvador Dali and Philippe Halsmanhttp://formfunctionexperience.blogspot.com/

‘49Glass House, New Canaan, Connecticut (USA)Philip Johnsonhttp://www.flickr.com/photos/mjkm-jk/2150137709/

‘50-’56General Motors Technical Center, War-ren, Michigan (USA)Eero Saarinenhttp://www.robertdamora.com/

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

‘52Walker Guest House, Sanibel Island, Florida (USA)Paul Rudolph“Classic Home 048”, by Architecture-Week, ArchitectureWeek No.139

‘53Golconda, The Menil Collection, Hous-ton, Texas (USA)Rene Magrittehttp://en.wikipedia.org, photo by Shi-mon D. Yanowitz

‘54-presentIKEA (Sweden)Ingvar Feodor KampradCourtenay Smith, Annette Ferrara: Xtreme Interiors, Prestel, 2003, p.26

‘55-’70Museo Castelvecchio, Verona (Italy)Carlo ScarpaL’Architecture de XXe siecle, Peter Gossel, Gabriele Leuthauser, Benedikt Taschen, p.392

‘56Bugler’s nephewsLiviu ciulei“Teatralizarea picturii de teatru”, ed. Dacia, 1963, p.130-132

‘57Superleggera, Milan (Italy)Gio PontiGraziella Roccella: “Gio Ponti. Mae-stro della leggerezza” Taschen, 2009

‘58-’62Dulles Airport, Chantilly, Virginia (USA)Eero SaarinenEero Saarinen. Eero Saarinen On His Work. New Haven, CT: Yale University Press, 1968, p.108

‘59-’66Salk Institute, La Jolla, California (USA)Louis I. KahnGeorge Everard Kidder Smith. Look-ing at Architecture. New York: Harry N. Abrams, Abrams Image Publishers, 1990. p.162-163

‘60Triple Self PortraitNorman Rockwellhttp://www.prenhall.com/reid/pages/ch03_low.pdf

‘61Tall Woman III, Walking Man II and Monumental HeadAlberto Giacomettihttp://opinionator.blogs.nytimes.com/2009/06/11/blind-spot/

‘62Bordando el Mantro TerrestreRemedios VaroJanet A. Kaplan, Unexpected Jour-neys: The Art and Life of Remedios Varo (New York: Abbeville, 1988), p.164

‘63Linear construction n.4Naum Gaboh t t p : / / g l u e m a r k e t . b l o g s p o t .com/2009/01/naum-gabo-pevsner.html

‘64Walking CityArchigramh t t p : / / t r i l o d o m e . b l o g s p o t .com/2010/07/archigrams-walking-city.html

‘65Environment-bubbleReyner Banham, Francois Dallegrethttp://www.fl ickr.com/photos/ 21525853@N00/2217265543/

‘66-’68Cuadra San Cristóbal, Los Clubes, Mexico City, Mexico (USA)Luis Barragan http://www.thequietman.org/?p=79

‘67United States Pavilion at Expo ‘67Buckminster Fuller and Shoji Sadaohttp://chicagomontreal.wordpress.com/2008/02/18/vvvvvv/

‘68House 1990Warren Chalk, Peter Cook, Dennis Cromp-ton, Ron HerronCourtenay Smith, Annette Ferrara: Xtreme Interiors, Prestel, 2003, p.16

‘69The Pack, London (UK)Joseph Beuyshttp://the-tallyho.blogspot.com/2010/08/back-from-void.html

‘70Misura Furniture Showroom, Chianti (It-aly)SuperstudioGianni Pettena: “Radical Design“, Maschi-etto Editore, 2004, p.90

‘71TV Cello with Charlotte Moorman, New York (USA)Nam June Paikhttp://www.paikstudios.com/

‘72Cylindrical Infl atable HouseQuasarCourtenay Smith, Annette Ferrara: Xtreme Interiors, Prestel, 2003, p.16

‘73-’78Time Capsules, Pittsburgh, Pennsylva-nia (USA)Andy Warholhttp://edu.warhol.org/ulp_ctm_cols2.html

‘74Splitting, New Jersey (USA)Gordon Matta-Clarkhttp://www.metmuseum.org/toah/works-of-art/1992.5067

‘75Neon table and chair Joe Reesh t t p : / / w w w . a r t b u s i n e s s .com/1open/112009.html

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

‘77The New York Earth RoomWalter De Mariah t tp : / / co ntempor a rya r tnewy ork .blogspot.com/2008/02/walter-de-maria-new-york-earth-room.html

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

‘79Ghost Parking LotSITEhttp://spacelab.myblog.it/ar-chive/2009/09/03/the-ghost-of-the-ghost-parking-lot.html

‘80Three fi gures and four benchesGeorge Segalhttp://www.sculpture.net/gallery/show-photo.php/photo/547/size/big

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

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

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

‘84Exhibit, different european citiesRenzo PianoStefano Colli, Raffaela Perrone: “Es-pacio-identidad-empresa“, Editorial Gustavo Gili, p.32

‘85-presentDan Perjovschi (Romania)Dan Perjovschi, contemporary artistphoto by its_tehmina; http://www.fl ickr.com

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

‘87Gaulino, Barcelona (Spain)Uli MarchsteinerStefano Colli, Raffaela Perrone: “Es-pacio-identidad-empresa“, Editorial Gustavo Gili, p.38

‘88-presentParkour (France) invented by David Belle photo by Alison Sampson; http://spa-ceintext.wordpress.com

‘89La Villette, Paris (France)Bernard TschumiBernard Tschumi and Yokio Futagawa Bernard Tschumi “Parc de la Villette”, A.D.A. Edita, 1997, p.155

‘90-’95Flor da Rosa, Crato (Portugal)Joao Luis Carrilho da GracaCandidaturas AOS prémios UIA – Pre-mio Auguste Perret, 2005 [ed. GG], 1995

‘91-presentKinetic Sculpture (Netherlands)Theo Jansenwww.strandbeest.com/

‘92Ardi magazine (Spain)Juli Capella, Quim LarreaStefano Colli, Raffaela Perrone: “Espa-cio-identidad-empresa“, Editorial Gus-tavo Gili, p.56

‘93Miller/Jones Studio, New York (USA)LOT/EKCourtenay Smith, Annette Ferrara: Xtreme Interiors, Prestel, 2003, p.36

‘94Luci Bianchi, Milan (Italy)Silvio WolfStefano Colli, Raffaela Perrone: “Espa-cio-identidad-empresa“, Editorial Gus-tavo Gili, p.60

‘95Kolonihavehus installation, Copenha-gen (Denmark)Dominique PerraultDominique Perrault – writings; Enric Miralles – “The nap”

‘96Symbiosis, various European cities (Europe)

Fura dels BausStefano Colli, Raffaela Perrone: “Espacio-identidad-empresa“, Editorial Gustavo Gili, p.76

‘97-2001Santa Caterina Market, Bracelona (Spain)Enric Miralles & Benedetta Tagliabueh t t p : / / w w w . f l i c k r. c o m / p h o t o s /jfreund1/5202205432/lightbox/

‘98Issey Miyake, Paris (France)Ingo MaurerStefano Colli, Raffaela Perrone: “Espacio-identidad-empresa“, Editorial Gustavo Gili, p.94

‘99Living Unit, Milan (Italy) / Zurich (Switzer-land) / New York (USA) / Miami (USA) /Lon-don (UK) / Cologne (Germany)TaraStefano Colli, Raffaela Perrone: “Espacio-identidad-empresa“, Editorial Gustavo Gili, p.110

‘OWN_ii.SPACE, Milan (Italy)Olivia Giselle SofroniePersonal archive

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

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