f r o m w i t h i n

o n i n t e r i o r a r c h i t e c t u r e
f i r s t c h a p t e r
i n t e r i o r a r c h i t e c t u r e
F. Albini, Metropolitane Milanesi, 1963
Le Diable a Paris, 1845
L. Kahn, The Room, 1971
L. Kahn, The Street, 1971
Pienza, Piazza Pio II
G.B. Nolli, Nuova pianta di Roma, 1748
D. Pikionis, Sistemazione paesaggistica dell’Acropoli, 1957
R. Banham, A Home Is Not a House, 1965
D. Graham, Alteration to a Suburban House, 1978
Superstudio, Supersurface, 1972
Grotta Chauvet, disegno rupestre, 30.000 aC
M.A. Laugier, Essai, 1755
Percier e Fontaine, Malmaison, 1800
B. Van Bassen, Flemish interior, XV c.
Percier e Fontaine, Recueil, 1801
S. Giedion, 1948
El. De Wolfe, The House in Good Taste, 1913
C. Beecher, The American Woman's Home, 1869
Knoll Planning Unit, 1946
P. Chareau , Maison de Verre , 1932
F. Albini, Stanza per un uomo, 1936
G. Ponti, Montecatini, 1936
J. Soane, Breakfast Room, 1813
L. Moretti, Strutture e sequenze di spazi, 1953
L. Kahn, The wall as a Room, 1970
H. Hertzberger, Lessons, 1991
H. Hertzberger, Lessons, 1991
H. Hertzberger, Lessons, 1991
G. Guidi, Gesto, 1970
G. Berengo Gardin, Dentro le case, 1977
C. Mollino, Casa Devalle, 1939
M. Bellini, Kar-a-Sutra, 1972
U. La Pietra, Attrezzature urbane, 1979
secondchapter
r e - r e a d i n g
1951
A. E P. Smithson, Urban Structuring, 1957
Gabetti e Isola, Bottega di Erasmo, 1956
E. Isgrò, Cancellatura, 1968
F. Albini, Palazzo Rosso, 1962
C. Scarpa, Fondazione Querini Stampalia, 1963
C. Scarpa, Fondazione Querini Stampalia, 1963
G. Ponti, De Bijenkorf Plaza, 1969
U. Riva, Piazza San Nazaro, Milano, 1992
C. Scarpa, Museo di Castelvecchio, 1964
C. Mollino, Camera da letto per cascina in risaia, 1943
Pompei, Cubicolo n. 16, Villa dei Misteri
secondchapter
p l a c e m a k i n g
A. Van Eyck, Orfanotrofio di Amsterdam, 1960
A. Van Eyck, Otterlo circle, 1957
G. Semper, Capanna caraibica, 1851
O. Schlemmer, Ballet Triadique, 1927
L. Moholy Nagy, The new vision, 1928
A. Van Eyck, playground, 1947
A. Van Eyck, Orfanotrofio di Amsterdam, 1960
E. Sottsass, Metafore, 1972-77
J. Itten, Esecrcizio progettuale, 1921
E. Sottsass, Metafore, 1972-77
Le Corbusier, Cabanon, 1952
E. Gray, E-1027, 1926
Le Corbusier, Cabanon, 1952
J. Utzon, Can Lis, 1971
A. Aalto, Experimental house, 1949
J. Utzon, Can Lis, 1971
L. Kahn, Fisher House, 1960
L. Kahn, The wall as a Room, 1970
A. Korsmo, Korsmo House, 1955
Le Corbusier, Maison Loucher, 1929
A. Korsmo, Korsmo House, 1955
A. Smithson, Small Pleasures of Life, 1950
fourthchapter
p o s t h u m a n d e s i g n
 Every era has had its own iconic
architectural typology. The dream
commission was once the church,
Modernism had the factory and then the
house; in the past decade we celebrated
the decadent museum and the gallery.
[…] The most significant architectural
spaces in the world are now … empty of
people.
Liam Young
Liam Young, Machine Landscapes
Gilles Clement, The Third Landscape
Francisco Goya, Fight with Cudgels
Gustave Doré, London
The atomic bomb
Leonardo, The Vitruvian Man
Charles Darwin, The Tree of Life
Earthrise
Donna Haraway, A Cyborg Manifesto
IKEA, Wildhomes for wildlife
 Our little Spaceship Earth is only eight
thousand miles in diameter, which is
almost a negligible dimension in the
great vastness of space. […] [But it] was
so extraordinarily well invented and
designed that to our knowledge humans
have been on board it for two million
years not even knowing that they were
on board a ship. […] Now there is one
outstandingly important fact regarding
Spaceship Earth, and that is that no
instruction book came with it. […] So,
planners, architects, and engineers take
the initiative. Go to work…
Buckminster Fuller
Buckminster Fuller, Dimaxion Map
spaces for new alliances
Cedric Price, Snowdon Aviary
Oscar Niemeyer, Pombal
Walter De Maria, Lightning Field
Biosphere 2
Diller & Scofidio, Blur Building
Gilles Clement, Ile Derborence
Soderman, Svalbard Global Seed Vault
Olafur Eliasson, Fog Assembly
Matali Crasset, Capsule
Marco Casagrande, Ruin Academy
Piet Oudolf, Serpentine Pavilion
Arup, Insect Hotel
Junya Ishigami, Art Biotop
Raumlabor, Floating University
 Designers are always understood as
solving a problem. Artists, intellectuals,
and writers are expected to ask
questions, to make us hesitate, to see
our world and ourselves differently for a
moment, and therefore to think. Why
not design as a way of asking question?
Why not design that produces thought-
provoking hesitations in the routines of
everyday life rather than simply servicing
those routines? Why not design that
encourages us think? Design as an urgent
call to reflect on what we and our
companion species have become?
Beatriz Colomina, Mark Wigley