Inside Prefab : The Ready-Made Interior [1 ed.] 9781568989877

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Inside Prefab

Inside Prefab The Ready-made Interior Deborah Schneiderman

Princeton Architectural Press, New York

Published by Princeton Architectural Press 37 East Seventh Street New York, New York 10003 For a free catalog of books, call 1.800.722.6657. Visit our website at www.papress.com. © 2012 Princeton Architectural Press All rights reserved Printed and bound in China 15 14 13 12 4 3 2 1 First edition No part of this book may be used or reproduced in any manner without written permission from the publisher, except in the context of reviews. Every reasonable attempt has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions. An earlier version of the Introduction, written by Deborah Schneiderman, appeared as “The Prefabricated Interior: Defining the Topic” in Interiors: Design, Architecture, Culture 2, no. 2 (2011). Editor: Nicola Bednarek Brower Designer: Jan Haux Special thanks to: Bree Anne Apperley, Sara Bader, Janet Behning, Fannie Bushin, Megan Carey, Carina Cha, Tom Cho, Penny (Yuen Pik) Chu, Russell Fernandez, Felipe Hoyos, Linda Lee, Jennifer Lippert, John Myers, Katharine Myers, Margaret Rogalski, Dan Simon, Andrew Stepanian, Paul Wagner, Joseph Weston, and Deb Wood of Princeton Architectural Press —Kevin C. Lippert, publisher Library of Congress Cataloging-in-Publication Data Schneiderman, Deborah, 1968– Inside prefab / Deborah Schneiderman. — 1st ed. p. cm. Includes bibliographical references and index. ISBN 978-1-56898-987-7 (alk. paper) 1. Prefabricated interior architecture. I. Title. NA2850.S34 2012 729—dc23 2011021974

27

Interior Walls

28

Flatform

Foreword

32

Active Phytoremediation Wall System

by Stanley Abercrombie

36

Blobwall

40

S3 Sustainable Slotted System

45

Kitchens

Table of Contents 6

7

Acknowledgments

8

Introduction

46

Closet #1, Parsons Kitchen

8

A Very Brief History of Prefabrication

50

Oma’s Rache

A Brief History of Prefabricated Interior Design

54

Flow2

58

Ekokook

63

Bathrooms

64

Cirrus MVR

68

The Flo

72

Kullman Bathroom PODS

76

Co-Pod

81

Furniture

82

After Words

86

90° Furniture

90

Kenchikukagu

94

Playground for Leif

99

Office

11

100

Clipper CS-1

104

Office POD

108

Dilbert’s Ultimate Cubicle

112

OfficePOD

117

Prefabricated House Interiors

118

Furniture House

122

A–Z Cellular Compartment Units

126

Composite House

130

Cell Brick House

134

Glossary

136

Notes

138

Select Bibliography

140

Image Credits

142

Index

Foreword By Stanley Abercrombie

I have a shelf full of books on prefabricated buildings and a whole wall of titles on interiors, but, seeing this manuscript, I realized with surprise that I had never before seen a book on prefabricated interiors. The reason, of course, is not because the subject is so obscure, but because it is so obvious. Throughout the industrial age, building components have been turned out by the hundreds and thousands in factories and shipped ready-made to building sites, including dimension lumber, windows and doors, sheets of plywood, metal flues, cylinder-printed fabrics and wallpapers, baseboards and cornices, tiles and drawer pulls, and light switches. This construction reality is so familiar and so quotidian as to be virtually invisible. But the more important point this book makes is that prefabrication, while often focused on structural elements, has had its most profound effect on our interiors. Indeed, some prefabricated exteriors go to great lengths to appear as if they had never been near a factory, while inside we have come to welcome the order, modularity, efficiency, and precision that prefabrication can bring. Interior prefabrication has a long and intriguing history, as this book’s introduction shows, but it also has a bright and even more intriguing future. The book’s two dozen case studies demonstrate the new looks, new materials, and new potential functions of interior prefabrication, not the least interesting of which are those dealing with our increasingly urgent environmental issues.

6

Acknowledgments Nicola Bednarek Brower, my editor, for her dedication. Princeton Architectural Press for its support in realizing this project. The designers and photographers of included work. The faculty and administration of the Interior Design department and the School of Art and Design at Pratt Institute for their belief in this project. The students of the Arizona State University Interior Design program and Master of Science in Design Program 2007– 2010 for their work on the topic “Prefabricated Interior Environment.” The faculty, administration, and students of Parsons The New School for Design Master of Fine Arts Interior Design thesis class of 2011 for their inspiration. The faculty and administration of the Herberger Institute for Design and the Arts at Arizona State University for their encouragement. Renata Hejduk for her sage advice and wisdom. Deborah Koshinsky and Alexa Griffith Winton for reading drafts of the manuscript. Jennifer Siegal for inspiring my research and for connecting me with Princeton Architectural Press. Stanley Abercrombie for his contribution to the field and to this project. My family—Scott, Chloe, and Eli Lizama; and Gerald, Reeta, and Jonathan Schneiderman—for their love and encouragement. Dedicated in memory of Norma Lizama for her strength, will, love, and support. Without her I would not have been in a place to write this book.

7

Introduction

constructed end product. Building off site in a controlled environment limits waste in materials

Prefabrication in the field of architecture is by no

and inefficiencies in labor, while the fabrication of

means a novel concept and has enjoyed continued

modular elements that can easily be transported

attention by prominent architects and designers,

allows for adaptability of installation, extending

owing much of its popularity to its efficiency and

the lifespan of building elements.

affordability. Recent prefabricated designs also

The term prefabrication, used to describe a

emphasize the inherently sustainable qualities of

building typology, was not coined until the 1930s,

this production technique. While the investigation

when the business of making building compo-

into modern prefabrication has attracted much

nents that could be assembled on a remote site

interest in the architecture community for over

developed into a substantial industry, although

a century, the literature documenting the sig-

the process of prefabrication has existed for

nificance of interior design and interior elements

thousands of years.1 The earliest known example

using this technology contains a notable gap.

of prefabrication in the built environment can be

Although there has been virtually no pointed dis-

dated back to the Sweet Track—a raised walkway

cussion of the influence of prefabricated interiors,

in Somerset County in England built around 3807

the techniques and applications of prefabricated

BCE and made of prefabricated timber sections

interior design have been around for thousands

that were quickly assembled on site.2 Another

of years, and prefabrication in the built environ-

important instance of prefabricated architecture

ment in fact owes much of its advancement to

was the panelized wood houses that were shipped

concepts first investigated for use in the interior.

from England to the United States in the mid-sev-

Innovations in prefabricated interior design have

enteenth century to be used for the quick con-

ranged from individual elements, such as wall

struction of homes in a Cape Ann, Massachusetts,

panels, staircases, or pieces of furniture, to com-

fishing fleet community.3

plete assemblages, such as kitchens, bathrooms, or

The first documented mass-produced

utility pods. These components are often more than

prefabricated house was the Manning Portable

simple objects, defining and programming space,

Cottage, introduced in 1830 and transported from

either as complete prefabricated assemblies or

England to Australia for the construction of its

through the fabrication and repetition of a module.

new settlements.4 [Fig. 1] These houses resembled

Prefabricated interiors thus become place-makers

cabins, with the interior not differing much from

within the built environment.

the exterior. A prefabricated building can also be a unique, site-specific structure, such as the Crystal

A Very Brief History of Prefabrication

Palace (1851) in London, which was built of pre-

Prefabrication, or off-site fabrication, refers to parts

fabricated iron modules. [Fig. 2]

of a building, interior or exterior, that are produced

The twentieth century saw a rise of mass-

and assembled in a place other than the building

produced prefabricated houses, and many of the

site (typically a controlled factory environment).

great modernist architects, including Le Corbusier,

Ideally, components are fabricated simultaneously

Marcel Breuer, R. Buckminster Fuller, Frank Lloyd

in various locations and fully assembled into the

Wright, Walter Gropius, and Konrad Wachsmann,

whole at the building site, reducing total construc-

explored the idea of prefabrication as a building

tion time and costs and creating a more precisely

technique. [Fig. 3] [Fig. 4] While their houses did not

8

Introduction

sell to the public in large quantities, vernacular prefabricated designs have achieved the goal of mass production, from the Sears, Roebuck and Company’s catalog kit homes of the first half of the twentieth century to mass-produced modular homes, such as the Lustron House, of the midtwentieth century to prefabricated trailers beginning in the latter part of the twentieth century and continuing to the present. The Lustron House, introduced by Carl Strandlund, president of the Lustron Corporation, in 1946, in particular demonstrates the significance of the interior in the history of prefabrication. The house’s built-in elements consisted of a system of prefabricated modular units that functioned not only as dividing elements, but also as programmed space, such as shelving, cabinetry, closets, and vanities. [Fig. 5] The interior panels were manufactured of the same porcelainenameled steel panels that covered the facade 9

[Fig. 1] Manning Portable Cottage, ca. 1833

[Fig. 2] The Last Promenade at the Crystal Palace, The Illustrated London News, May 1852

Introduction

[Fig. 3] R. Buckminster Fuller’s Wichita (Dymaxion) House, interior view, 1946 [Fig. 4] Wichita (Dymaxion) House, exterior view

[Fig. 5] Lustron House, advertisement, Life, October 11, 1948

10

[Fig. 6] Sears Modern Home 115, Sears Catalog, 1908

Introduction

and roof, establishing a clear visual connection

A Brief History of Prefabricated Interior Design

between the interior and exterior.5 Although the

The articulation of the prefabricated interior

Lustron House did not achieve its goal of true

has been critical in the development of modern

mass production, the integration and significant

prefabrication techniques. The design of interior

placement of its interior components informed the

partitions or walls; of whole spaces, including

evolution of the prefabricated interior.

the bathroom, the kitchen, and the office; and of

In the late twentieth and early twenty-first

furniture has both contributed to defining interior

century, many well-known designers turned to

space through placement and program and been

prefabrication, including those that pursue afford-

a critical step in the development of prefabricated

able, efficient, and environmentally sustainable

construction techniques on a greater scale, from

solutions, such as LOT-EK, Wes Jones, Michelle

the building to the city. Prefabricated interior

Kaufmann, Su11 architecture + design, Anderson

design includes both distinct elements and pre-

and Anderson, KieranTimberlake, Adam Kalkin,

fabricated wholes. Interior components, such as

and Jennifer Siegal, among others. Artist/architect

decorative elements, staircases, and mantles, have

Kalkin, for example, repurposes shipping contain-

a long tradition of prefabrication. Even gypsum

ers as dwellings, as in his 12 Container House

board, which was introduced in the early

(2003) and his Quik House (2003), which is cur-

twentieth-century Sears kit homes, serves as an

rently available to order. Siegal’s Office of Mobile

example of an interior element that is fabricated

Design (OMD) has also repurposed material, as

off site and brought to the house ready to install.6

demonstrated in the 2003 Seatrain Residence

[Fig. 6]

(Los Angeles), using shipping containers for the

nents follow three basic construction types, which

In general, prefabricated interior compo-

fabrication of living spaces and grain containers

are used singularly or combined. These include

for the construction of a lap pool and koi pond,

planar construction (utilizing the screen as a

as well as incorporating steel found on site. Based

planar element to divide space, either as a rela-

on the notions of new nomadism and mobility,

tively fixed or readily movable object), modular

many of Siegal’s projects explore architecture at

construction (using the module­—a standardized

the intersection of portability and sustainabil-

component of a system—as a building block of

ity. Siegal’s 2006 prefabricated ShowHouse, for

customizable prefabricated space), and unit con-

example, exhibits ideas of portability and flexibil-

struction (employing a singular unit element that

ity and incorporates environmentally sustainable

is designed as an all-inclusive piece).

design solutions, including solar panels, radiant heat panels, a tankless water heater, and a variety

Planar Construction: the Screen

of sustainable floor and wall materials.

The earliest example of a prefabricated interior element is the screen. Although most people associate the advent of the paper screen with Japan, the first paper folding screen appeared in China, with literary references dating its inception back to 300 or 400 BCE, far predating the first prefabricated houses. The relatively permanent Chinese screens evolved into the Japanese shoji, a system of screens dating to as early as 200 BCE.

11

Introduction

These folding, fixed, or sliding screens could be

[Fig. 7]

used to create walls, doors, window coverings,

the topic of prefabrication, resulting in numer-

and standing partitions. In the West, the screen

ous works, including the iconic 1946 undulating

was first introduced in the mid-sixteenth century,

plywood folding screen.10 [Fig. 8]

but it did not gain popularity until the nineteenth

Charles and Ray Eames broadly investigated

Two significant sustainable twenty-first-

century, when, in 1853, the American government

century screens combine planar and modular

sponsored a trip by Commodore Matthew Perry

construction in their design. Nomad (2007) by

to Japan to inspire a trade relationship between

Jaime Salm and Roger Allen (of Mio) is a system of

the East and the West. From this visit began the

recycled, recyclable, and affordable two-dimen-

importation of Japanese and Chinese screens to

sional cardboard modular elements that assemble

European cities. Also increasing their popular-

without tools or hardware into customizable

ity was their display at the 1867 International

screens or partitions. [Fig. 9] [Fig. 10] Andrew Wilson

Exhibition for Industry and Art in Paris.

and Aza Raskin’s Bloxes (2008), designed by Jef

7

During the twentieth century the screen

Raskin, are also fabricated from two-dimensional

was most notably used as an architectonic

cardboard elements, which are folded into three-

domestic interior element in the works of Frank

dimensional modules and assembled into any

Lloyd Wright, Walter Gropius, Gerrit Rietveld,

shape; the screen is only one of many possibili-

Eileen Gray, and Charles and Ray Eames. The

ties. [Fig. 11] [Fig. 12]

Katsura Imperial Villa in Kyoto with its movable

In the commercial environment, it was

exterior and interior walls, its interchangeability of

not until the 1950s that office design incorpo-

modular components, and its use of prefabrication

rated prefabricated screen-based wall systems

in particular inspired Gropius, who experimented

to divide space, as evidenced in the Skidmore,

with similar concepts and techniques in his living

Owings & Merrill (SOM)/Knoll–designed interiors

spaces. Rietveld created perhaps the most influ-

for the 1957 Connecticut General Life Insurance

ential translation of the Japanese-style screening

Company.11 The German Quickborner Team revo-

of interior space in his archetypal de Stijl mas-

lutionized the use of the screen in prefabricated

terpiece of 1924, the Schröder House (Utrecht,

office space in the 1950s with their concept of a

the Netherlands). In a remarkable manner, the

Bürolandschaft. This “office landscape” utilized

Schröder House defined interior space through

a system of lightweight screens that could easily

the implementation of sliding walls, much like

be reconfigured as individual and organizational

those of a traditional Japanese residence, result-

needs changed.12

ing in a highly flexible modernist living space.

The Herman Miller Company, in particu-

Similarly, Gray’s architectural projects, including

lar designers Robert Probst and George Nelson,

her seminal E. 1027 house (Roquebrune-Cap-

has been credited with the design of the cubicle.

Martin, 1925–29) and the apartment on rue

The company’s 1964 modular Action Office is

Chateaubriand (Paris, 1931), utilized the screen

considered by many as the first prefabricated

as a primary place-making element.8 While

office space. Through his rigorous research, Probst

throughout her career, Gray made screens from

developed the concept and plan for the flex-

an array of materials, she is best known for her

ible movable furniture system, which was given

1923 Lacquered Block Screen, whose finish and

three-dimensional form by Nelson.13 [Fig. 13] While

fabrication is reminiscent of Japanese screens.

the design for the original Action Office received

12

9

Introduction

[Fig. 7] Black lacquer Brick screen, one of a small number of variants executed by Eileen Gray of the design first exhibited in 1923

[Fig. 8] Eames Molded Plywood Folding Screen, Charles and Ray Eames, 1946

13

[Fig. 9] Nomad Screen modules, Jaime Salm and Roger Allen (of Mio), 2007 [Fig. 10] Nomad Screen assembled

Introduction

[Fig. 11] Bloxes modules, Jef Raskin, Bloxes, 2008 [Fig. 12] Bloxes assembled

[Fig. 13] Action Office I, Robert Probst and George Nelson for Herman Miller Company, 1964 [Fig. 14] Action Office II (when first released), Robert Probst for Herman Miller Company, 1968

14

[Fig. 15] Resolve system, Ayse Birsel for Herman Miller Company, 1999 [Fig. 16] Joyn, Ronan and Erwan Bouroullec for Vitra, 2002

Introduction

much critical acclaim, it did not sell well, and the

balloon or platform construction, with prebuilt inte-

Herman Miller Company proceeded to develop

rior and exterior panels trucked to the job site ready

Action Office II, a lightweight, interchangeable,

to assemble. Descended from the balloon frame,

and easily reconfigured office system.

structural insulated panels (SIPs) are made of insu-

14, 15

The

prefabricated partition screen of the Action Office

lating foam core that is sandwiched between two

II, introduced in 1968, was structural, freestand-

sheets of plywood or oriented strand board. SIPs

ing, and movable.16 [Fig. 14] A contemporary office

were first introduced in 1935 but did not become

system by Herman Miller Company, the Resolve

readily available until the 1960s. Advancing CAD/

system (1999), designed by Ayse Birsel, reestab-

CAMM technologies in the 1990s made their

lishes a critical element of the original cubicle,

implementation more practical. The planar screen-

Probst’s concept of using 120-degree angles

like elements, which are produced off site, are used

between screen panels.17 [Fig. 15] By incorporating

to fabricate both interior and exterior structural and

canopies in her workstations, Birsel has advanced

nonstructural walls.18

the notion of the prefabricated office space a step

The screen is completely exteriorized in

further, recognizing that the typically ignored

curtain wall constructions, which first appeared in

overhead plane is critical to the construction of

the late nineteenth century and were increasingly

three-dimensional space.

implemented after World War II. The introduction

Twenty-first-century screen-based prefab-

of skeletal framing systems released the require-

ricated office designs continue to pursue adapt-

ment for the exterior wall to be load bearing,

ability within office environments, as evidenced

enabling the nonstructural panels or screens of the

in notable diversions from the standard cubicle

curtain wall to—like their interior counterparts—

model. Examples include communal worktables,

programmatically function as dividers, separating

such as Vitra’s 2002 planar Joyn system designed

interior from exterior.19

by Ronan and Erwan Bouroullec [Fig. 16], and the consciously sustainable mass-customizable 2004

Modular Construction

Dirtt (Doing It Right This Time) demountable wall,

The module plays an important role in Japanese

floor, electrical, and accessory system designed

interior design. Traditionally, the design of the

by Mogens Smed. Such systems challenge the

Japanese house relied on a regularized post and

permanence of the traditionally constructed wall,

beam system, allowing for the interior elements,

embracing instead the prefabrication of a system

including shoji, fusuma, and tatami, to be manu-

of parts that can be readily configured and recon-

factured by individual craftspeople and assembled

figured on site.

seamlessly on site.20 Proportional prefabricated

The use of screens has also informed exte-

building systems are recorded in Japan as early

rior elements, both structural and nonstructural.

as the Nara period (710–794 CE), though the

According to architectural historian Colin Davies,

measurements varied by region. The kiwari jutsu

prefabricated planar constructions were first evi-

system (dating to 1608) defines the modulariza-

denced in architecture in 1833. With the balloon

tion of space from the scale of the building itself

framing construction, walls can be assembled on or

to that of furniture elements, even including the

off site horizontally on the ground from studs and

proportions of the shoji screen. The tatami module

plates. Once assembled, the wall panels are lifted

has an overarching architectural significance in

into place. Tract houses today are still built using

the system, as the mats are utilized as units of

15

Introduction

measure. Room dimensions are described by the number of tatami that fit inside.21 [Fig. 17] The module also has a prominent place in

Around the turn of the twentieth century, both Lillian Gilbreth, industrial engineer and designer, and Christine Frederick, home econo-

Western design. One of the most basic architec-

mist, lecturer, and author, recognized that in order

tural modules is the brick, while in interior design

for a kitchen to work efficiently, it must allow

systems of modules are used in any number of

for adaptability, which was achieved through a

elements, from furniture to kitchens to office envi-

modular design.26 With her 1926 Frankfurt kitchen

ronments. On its own, the module, like the brick,

design, Margarete (Grete) Schütte-Lihotzky is

typically does not serve its intended function.

credited as the designer of the modern kitchen.27

However, when repeated, it can create defined

The Frankfurt kitchen is a hybrid of the modular

spatial environments. Modules constitute the basis

and unit typologies. [Fig. 19] Its individual elements

for much of the prefabricated interior.

are modular by nature, but those elements were

Within the domestic interior the module

assembled into a complete kitchen off site, which

is most significantly represented in the design of

was then integrated into the larger structure.28 The

kitchens and furniture. The systematic design of

Frankfurt kitchen established the significance and

the kitchen was first pursued by home econo-

potential of modern interior prefabricated ele-

mists in the United States as an academic and

ments and foreshadowed contemporary prefabri-

scientific endeavor, incorporating a multitude of

cation techniques. Today developer firms such as

studies in efficiency and workspace organization.

First Penthouse, founded in 1992, expand on the

Later, architects also laid claim to kitchen design;

Frankfurt kitchen’s concept of installing a com-

their approach embraced rationalist-functionalist

plete environment into a site-fabricated building,

principles and machine aesthetics. It is not

constructing complete apartment modules off site

surprising then that the kitchen has been a vehicle

that, like the Frankfurt kitchen, are craned into

for exploration of the mechanics of prefabrica-

place on site, in the case of First Penthouse the

tion in architecture and interior design. Early

rooftop of a previously constructed building.29

22

investigations into the design of the kitchen by

In 1945 Helen E. McCullough, associ-

educator Catherine Beecher and writer Harriet

ate professor of home economics at Cornell

Beecher Stowe in the nineteenth century stemmed

University, differentiated the typology of the pack-

from the desire to professionalize the work of the

aged kitchen of the mid-twentieth century from

housewife.23 Their proposed kitchen, the “sink

the unit kitchen, defining the packaged kitchen as

and cooking form,” is credited as a predecessor

one in which the manufacturer sells all necessary

of the twentieth-century kitchen, driven in large

equipment in one package—typically a modular

part by the necessity for organized storage. The

system with its own structural frame—and the

sink and cooking form was not merely a piece of

unit kitchen as a cast element that includes all

furniture but foreshadows the prefabricated pack-

equipment and cabinetry.30 The modular and

aged kitchen of the mid-twentieth century with

unit versions of these prefabricated kitchens are

an integrated mechanical core, including water

capable of transforming any room into a modern

heating and ventilation systems. While it was

kitchen regardless of the given architectural condi-

not itself prefabricated nor did it really gain wide

tion, as neither relies on the existing structure.

acceptance, its concept inspired the designers that

Charles C. White’s 1946 kitchen, called The White

followed.25 [Fig. 18]

Kitchen Compact, and the visionary 1953 Cornell

24

16

Introduction

[Fig. 17] Tatami proportion [Fig. 18] Sink and cooking form, Catherine Beecher and Harriet Beecher Stowe, 1869

17

[Fig. 19] Frankfurt kitchen, Margarete (Grete) Schütte-Lihotzky, 1926

Introduction

[Fig. 20] Cornell Kitchen packaging and transportation concept, Glen Beyer, Mary Koll Heiner, and Cornell University students, 1953 [Fig. 21] Cornell Kitchen construction, 1953

[Fig. 22] Glenn Beyer standing in the Cornell Kitchen, 1953

18

[Fig. 23] Universal Kitchen Snack Station, faculty and students, Architecture, Interior Architecture, and Industrial Design departments, Rhode Island School of Design, 1998

Introduction

Kitchen represent the modular packaged typol-

within the system, the Casier Standard was also

ogy. While the former was primarily concerned

designed to define space in the open plan house.

with efficiencies of construction, the design of the

Like Le Corbusier, Breuer had his roots in interior

latter also focused on user needs and ergonom-

and furniture design and experimented with the

ics. The Cornell Kitchen was executed through

module in his 33 design of 1925. The Breuer

Cornell University’s Housing Research Center

0system was based on a measure of thirty-three

as a collaborative effort among the students,

centimeters and comprised small modular cabi-

Home Economics Associate Professor Mary Koll

nets that could be placed against the wall, hung

Heiner, and Glenn Beyer, director of the center

from the wall, or supported on tubular steel legs.

and professor of housing and design. The basic

These modules appeared in virtually all of his

kitchen functions were grouped into five prefabri-

commissions going forward.34

cated movable “centers”—mix, serve, range, sink,

In the mid-twentieth century, Nelson,

refrigerator/oven—which could be arranged in any

the Eameses, and the Herman Miller Company

configuration and adjusted in height, and com-

devised several modular furniture systems. Nelson

prised a self-supporting structural system. With the

conceptualized his 1944 visionary Storagewall as

exception of the sink center, they had identical

a built-in element that would not only house all

base cabinets so that inner organizational compo-

storage necessary for the home within the typical

nents were interchangeable.31 [Fig. 20] [Fig. 21]

space of a wall but would also entirely replace

[Fig. 22] A

the wall with modular furniture-like elements.

contemporary example that similarly

addresses vertical dimension is the Rhode Island

The Storagewall is customizable by design, as

School of Design’s 1998 Universal Kitchen

the modules are selected by the user and can be

project, which resulted in the Min and the Max

assembled in any arrangement or direction, thus

kitchen, essentially kits of interchangeable

creating the opportunity to serve two rooms at

modular components. Each element is chosen by

once.35 The Storagewall is reminiscent of, yet more

the user and can be installed at varying heights

inclusive than, the prefabricated built-in ele-

and depths. [Fig. 23] Today’s standard kitchens are

ments of the Lustron House. It also foreshadowed

typically constructed from modularized pieces of

Shigeru Ban’s 1995 Furniture House, in which the

rational measurements constructed off site but are

prefabricated built-in elements become the actual

installed at a fixed standard height.

structure of the house.

The design of furniture also has a rich

The Eames Storage Units (ESUs) of 1950

history of modular construction. A 1909 Sears,

were the first mass-produced mass-customizable

Roebuck and Company catalog already adver-

storage elements. Their back and side panels

tised mass-produced sectional bookcases, but Le

were available in multiple materials, including

Corbusier (along with Breuer) has been cred-

Masonite and perforated aluminum, and were

ited as the first architect to conceive of modu-

available for order in an array of colors. ESUs can

lar furniture and thus of prefabricated interior

be combined as shelves or desks with open (or

space.32 Le Corbusier, with Pierre Jeanerette and

closed) storage in addition to drawers, creating an

later Charlotte Perriand, developed the Casier

infinite range of possible configurations.36 [Fig. 24]

Standard, a system of modular container elements,

[Fig. 25]

in 1925. Envisioned to serve all storage needs

sors, Joe Colombo’s 1969 Tube Chair and 1967

through various elements of storage available

Addition seating system are highly customizable,

33

19

In a marked departure from his predeces-

Introduction

[Fig. 24] Eames Storage Units brochure, Charles and Ray Eames, 1950 [Fig. 25] Eames Storage Units, 1950

[Fig. 26] Tube Chair, Joe Colombo, 1967 [Fig. 27] Cell Brick House, interior, Yasuhiro Yamashita/Atelier Tekuto, 2004

20

[Fig. 28] Hoosier Manufacturing Company advertisement for the Hoosier Kitchen Cabinet, 1919

Introduction

composed of modular upholstered elements that

the rational principles of domestic reformers

are nonfunctional and nonrecognizable as single

Christine Frederick and Erna Meyer. When closed,

elements.37 [Fig. 26] Yasuhiro Yamashita’s (of Atelier

the unit appeared to be an ordinary wardrobe,

Tekuto) 2004 Cell Brick House is a culminating

but when opened, it revealed a working kitchen.

investigation of prefabricated modular furniture

In his 1963 Minikitchen, Colombo reconceived

as place-maker. The typologies of the module as

the Hoosier Kitchen Cabinet typology of the late

programmatic interior element and as a building

nineteenth century as a prefabricated package that

block are fused in the house, as its construction

was even more compact, mobile, and utilitar-

relies on the modular furniture, which becomes its

ian. Melanie Olle and Ilja Oelschlägel’s twenty-

structure. [Fig. 27]

first-century kitchen, Oma’s Rache (“Grandma’s Revenge” in German), is a contemporary variation

The Unit

of the unit kitchen, which provides opportunities

The unit is often confused with the module as a

for cooking, dishwashing, dining, refrigeration,

building block. As a primary defining element

food preparation, and storage (see pages 50–53).

of prefabricated interior design, however, the

Predating and informing the unit kitchens

term describes elements that are created in their

were the office secretaries of the late nineteenth

entirety as single all-inclusive pieces. For example,

century, such as the Wooton Patent Cabinet

the unit kitchens of the 1950s consisted of a single

Office Secretary, which contained an entire office

object housing all elements necessary for the

environment for the individual user.39 [Fig. 29] In

kitchen, including cabinetry and appliances.

Wright’s 1906 Larkin Building clerical worksta-

As early as the 1890s, the United States

tion, the chair is cantilevered off the desk, forming

witnessed the first unit-based prefabricated

an integrated work environment delivered in

kitchen furniture elements in the form of factory-

a ready-to-use form.40 The 1951 design for the

produced freestanding “dressers” that were

Knoll Planning Unit’s own workspace premiered

designed to store kitchen equipment and dry

multifunctional furniture pieces that included a

goods. These dressers or wardrobes foreshadowed

tilting drafting surface, a built-in divider panel,

the prefabricated packaged unit kitchens of the

and storage.

mid-twentieth century in that they were originally

Notable contemporary unit workspaces

designed as large all-inclusive elements. Among

include prefabricated movable worker pods such

the manufacturers of this early kitchen furniture

as Planet 3 Studio’s 2009 Out-of-Box Workstation,

was the Hoosier Manufacturing Company, which,

which can be transformed from a portable

influenced by Beecher’s designs, produced a

luggage-shaped container into a home office, and

variety of kitchen cabinets. The Hoosier Kitchen

the 2009 OfficePOD by the eponymous company

Cabinets, which were often on wheels, included

that can be placed in a variety of environments

clearly defined areas of storage for all kitchen

(see pages 112–15). A less traditional workplace,

needs, as well as pull-out work areas, bins for

commissioned in 1994 by the architecture pro-

sugar and flour, and a rotating spice rack with

gram at Parsons The New School for Design, Allan

jars. [Fig. 28] At the 1931 German Building

Wexler’s Parsons Kitchen revisits the relationship

Exhibition in Berlin, modernist designer Lilly

between the unit kitchens and the office secretar-

Reich exhibited a fixed cabinet-type kitchen in her

ies. The cratelike element can be stored in a wall

Apartment for a Single Person that demonstrated

crevice in the department’s reception area (whose

38

21

Introduction

form inspired its design) and unfolds to become

interiorized appliance. The unit was designed to

an in-house bar as well as a meeting place for

transform any room into a bathroom and included

public events and receptions (see pages 46–49).41

all fixtures, a toilet, bathtub, shower, and lavatory;

The idea of the prefabricated unit as an interior element took hold not only in the design

it also incorporated storage and lighting.45 In his seminal 1966 investigation of the

of kitchens and workplaces but also of bath-

bathroom, Alexander Kira proposed his own pre-

rooms. Early plumbed interior bathrooms of the

fabricated designs. What separated Kira’s concept

nineteenth century were materially similar to

from those of his peers was his rigorous study of

traditional domestic spaces and included wood

anthropometry. His prefabricated proposal, the

furniture, rugs, and curtains. At the turn of the

“Experimental relaxing/washing facility,” provided

twentieth century, hygiene theories caused a shift

for the incorporation of “controls, support devices,

in bathroom design to an industrial aesthetic with

storage shelves, ventilation, lighting, etc.” To

nonporous equipment, priming bathrooms for the

ensure that all fixtures were properly located for

precision of prefabricated technologies.42

the best functionality, he held that the elements

Many architects and designers have

should be fabricated in a controlled environment,

explored the design of prefabricated bathrooms,

hence making prefabrication a pragmatic choice

including Le Corbusier and Perriand, but Fuller

to insure quality control.46 A notable contem-

is frequently credited with the design of the first

porary example, the 2008 Vertebrae Vertical

prefabricated bathroom. His Dymaxion Bathroom

Bathroom by Design Odyssey, is, in contrast to

unit of 1930 included a tub/shower module and

Kira’s bathroom, designed for efficiency rather

a lavatory/toilet module, all contained within

than ergonomics. Seven stacked elements rotate

five square feet of floor space and weighing only

around a central cylinder and include a sink, toi-

about as much as a conventional bathtub.43 [Fig.

let, container for storing water, two cabinets, and

30] The

two showers at different heights.

kinetic nature of Fuller’s bathroom pod,

often referred to as plug-in or pod-in architecture,

The ability of the unit to fabricate a com-

inspired a cross-cultural architectural move-

plete interior environment has its earliest roots

ment, with projects in Europe, Asia, and North

in furniture and is well represented by the boxed

America, including Peter Cook and Archigram’s

bed typology, in particular the lit clos (French for

1964 Plug-in City study, Moshe Safdie’s Habitat

“closed bed,” a seventeenth-century cabinetlike

Apartments (Montreal, 1967), Kisho Kurokawa’s

structure). When closed, the lit clos fully encap-

Nakagin Capsule Tower (Tokyo, 1972), and Zvi

sulates the bed, forming a room within a room.47

Hecker’s Ramot Housing (Jerusalem, 1975).

Colombo explored the inclusiveness of the unit

44

Early prefabricated bathrooms were typi-

with his 1969 Living Machines, which included

cally units designed for the assembly of a bath-

the Cabriolet Bed and the Roto-Living machine.

room in its entirety, incorporating the room’s

The Cabriolet Bed, inspired by both the lit clos

enclosure. In 1947 the magazine Architectural

and convertible automobiles, became an enclosed

Forum introduced a unique new concept, the

room within a room when its soft top was elec-

Standard Prefabricated Bathroom, an integrated

tronically closed. The Roto-Living unit was a

unit designed by Bertrand Goldberg that fit

kitchen and dining element with a central rotating

through a conventional door and incorporated

table. Colombo’s investigation into prefabricated

all bathroom functionality in a fully prefabricated

units culminated in the form of an entire house

22

Introduction

with his Total Furniture Unit, exhibited in the 1972 show Italy: The New Domestic Landscape at the Museum of Modern Art in New York. The Total Furniture Unit housed everything necessary for the home in a single unit. [Fig. 31] [Fig. 32] In the same exhibition, Ettore Sottsass, Jr., introduced his visionary mobile multifunctional fiberglass furniture. In these designs individual furniture elements, including a kitchen and bathroom, are reduced to equipped containers, which can either be linked together or stand alone. The elements can continually be reconfigured to make up the most appropriate interior environment.48 The interior envelope is turned inside out in Wexler’s 1991 Crate House investigation. This conceptual study externalizes the interior into four programmed crates—living room, bedroom, kitchen, and bathroom—which, when not in use, fit into an 8-foot interior cube. The crates are individually rolled into and out of the cube 23

[Fig. 29] Wooton’s Patent Cabinet Office Secretary, advertisement, The Popular Science Monthly 6, no. 4, 1875

[Fig. 30] Dymaxion Bathroom, lower quadrants, R. Buckminster Fuller, 1937

Introduction

[Fig. 31] Total Furniture Unit, Joe Colombo, 1972 [Fig. 32] Total Furniture Unit, kitchen detail, 1972

[Fig. 33] Crate House, Allan Wexler, 1991 [Fig. 34] Crate House, office detail, 1991

24

[Fig. 35] Lit Clos, Ronan and Erwan Bouroullec, 2000

Introduction

through specific openings, fulfilling programmatic

elements. In turn, the modern masters, including

requirements as needed.49 [Fig. 33] [Fig. 34] Industrial

Le Corbusier, Breuer, and Gropius (in addition to

designers Ronan and Erwan Bouroullec revisited

midcentury designers Eames and Nelson) have

the lit clos concept in 2000. Their Lit Clos further

situated modular furniture in the canon of modern

accentuates the separation of the prefabricated

architecture. The modern office, for better or

bedroom unit from the existing architecture by

worse, is deeply entrenched in the concept of the

being placed on stilts, making it autonomous from

cubicle. Its spaces derive from screenlike interior

the larger infrastructure. [Fig. 35]

wall elements that are fabricated off site. More

50

recent investigations into the office environment The Impact of the Prefabricated Interior

move away from the typical panelized cubicle

As the ubiquity of prefabricated interior designs

but have returned to its precursor—coordinated

shows, they have gained widespread mass-

furniture.

market appeal, achieving a status that arguably

The widespread use of prefabricated ele-

often exceeds that of site-built counterparts.

ments is of particular interest in today’s climate

Prefabricated interior elements, particularly the

of sustainability and green design. Although the

kitchen, do not appear to suffer the stigma fre-

prefabricated elements discussed here were not

quently associated with prefabricated housing as

in most cases designed to meet the material,

being cheap and substandard. Rather, elements of

environmental, or social basis of sustainability

the prefabricated interior historically have been

as we define it today, they do inherently possess

appreciated for the basic tenets of prefabrica-

sustainable qualities, and they were purpose-

tion—efficiency and accuracy of construction in

fully designed to do so. Building off site leads to

a controlled off-site environment—and have been

reduced material waste and labor costs, while the

influential in the development of prefabricated

fabrication of modular or transportable elements

technologies. The screen, used to divide interior

allows for adaptability and reuse. As the following

space, is arguably the first prefabricated architec-

contemporary case studies show, further investiga-

tural element. With the invention of the screen,

tions into the prefabrication of interior elements in

followed by the construct of the module and the

a purposefully sustainable manner will continue

unit, the elements of the interior have been driving

to advance the significant territory of prefabricated

forces in prefabrication.

interior design.

Of particular significance was the unit-type Dymaxion Bathroom, which has been a model for prefabricated designs since the 1930s. In addition, the development of prefabricated and packaged kitchens has informed the construction of prefabricated houses and buildings. The use of modular furniture as a place-maker has its roots in the advent of mass production and was also a consequence of Le Corbusier’s open plan design for the 1914 Maison Domino, which represented modernist ideals and did away with the necessity for interior and exterior walls as structural 25

Interior Walls

27

Interior Walls

Flatform Marble Fairbanks, 2008

Designed by the New York–based architecture firm

mass customization has multifaceted implica-

Marble Fairbanks for the 2008 exhibition Home

tions for the control of light, air, and acoustical

Delivery: Fabricating the Modern Dwelling at the

distribution.1

Museum of Modern Art, Flatform is an interior

The wall’s elements are CNC (computer

wall, whose components, cut and scored flat stock

numerically controlled) milled. The digital fab-

stainless steel panels, are fabricated off site and

rication is integral to the concept of Flatform, as

delivered flat-packed. On-site installation requires

design and production are merged into a common

no tools or hardware, as the panels’ precut tabs

language of digital information, with the final

are folded and interlocked by hand.

product being cut directly from the designer’s

The assembled wall is made up of two

CAD file. While the prefabricated elements

facing panels, connected by folding tabs that

eliminate manual labor, Flatform’s final assembly

act in a manner similar to Velcro, creating both

requires the human hand to fold its cut tabs, a

the wall’s structure and its aesthetic. The design

poignant juxtaposition.

includes an element of customization for the end user, as the space between the panels is variable. When the panels are set further apart, the wall’s thickness and opacity increases. This ability for Assembly of wall panels

Flatform at the Museum of Modern Art, New York

Prototype

overleaf: Detail

28

Interior Walls

29

Interior Walls

30

Interior Walls

31

Interior Walls

Active Phytoremediation Wall System CASE / Center for Architecture Science and Ecology, 2008–

The modular Active Phytoremediation Wall System

percent, resulting in a radical improvement of ambi-

created by the Case / Center for Architecture

ent indoor air quality through a reduction in volatile

Science and Ecology, a collaboration between the

organic compounds, particulate matter, and other

Rensselaer Polytechnic Institute and Skidmore,

biological and chemical pollutants.

Owings & Merrill (SOM), acts as an active hydro-

The pod elements are constructed of

ponic system for air purification and energy reduc-

vacuum-formed plastic configured to allow the

tion in building systems. A winner of Architect

maximum amount of air to reach the roots of

magazine’s 2009 R+D Award, this wall has envi-

the plants with the use of minimal material. The

ronmentally sustainable qualities that transcend its

modular nature of the design allows the wall to

basic functions as divider and structure.

be installed as effectively in a large commercial

The modules of the Active Phytoremediation

setting as in a small residential one. Even the

Wall consist of pods that house plants, which are

smallest system can be effective: the installation

grown hydroponically. The assembled wall works

of only four modules in an apartment would have

with the building’s existing HVAC system and serves

the air purification capability of 800 to 1,200

as a plenum for ductwork and air movement. The

houseplants. The system is currently undergoing

roots of the plants are exposed, increasing their

rigorous further testing to document the effective-

inherent air-cleaning capacity by 200 to 300

ness of the wall with a variety of plant species.2 Mechanisms of phytoremediation

32

System components

Interior Walls

33

Interior Walls

Diagram illustrating the contaminated air filtration system

Visualized detail of the wall

34

Shape variations based on programmatic conditions

Interior Walls

35

Interior Walls

Blobwall Greg Lynn FORM, 2007 (prototype), 2008 (production)

Italian interiors and children’s outdoor toys of the

interior solutions, although Lynn envisions them

1970s inspired Greg Lynn, of the Los Angeles–

as either interior or exterior elements. The design

based firm Greg Lynn FORM, in his conception

defies the typical assumption that the module is

of Blobwall. He originally created the amorphous

a rectilinear element and redefines the common

plastic building element for a residential interior

brick as an organic modular building element. The

wall for his own home in Venice, California, but

blob modules are robotically cut mass-produced

realized that it had potential for mass production.

hollow trilobed shapes formed through rotational

.

The first prototype of the Blobwall was

molding. When assembled, the modules, made of

built in 2007 for the exhibition Skin + Bones:

recyclable low-density polyethylene, seamlessly

Parallel Practices in Fashion and Architecture at

and inherently form the wall and, unlike the typi-

the Museum of Contemporary Art, Los Angeles.

cal brick module, readily transition to construct

In 2008 the wall was put into production and

the ceiling. Prefabricated Blobwall structures

exhibited at the Southern California Institute of

are available in S-, L-, I-, and U-shapes and as

Architecture (SCI-Arc) and at the Venice Biennale.

complete enclosures, including a Dome and Tree

The blob modules of the Blobwall Pavilion,

House. According to Lynn, the blobs are “both

a collaboration between Greg Lynn FORM,

product, like a child’s toy, and building.”3

Machineous, and Panelite, were developed as Robotic cutting of a Blobwall module

Installation at the Museum of Contemporary Art, Los Angeles

In transit in Los Angeles

Blobwall module

overleaf: Blobwall Pavilion at the opening of the SCI-Arc exhibition

36

Interior Walls

37

Interior Walls

38

Interior Walls

39

Interior Walls

S3 Sustainable Slotted System Interior Senior Design Studio, Arizona State University, 2009

The S3 Sustainable Slotted System is the result of

cost alternatives. The shapes are inspired by, or

a Senior Interior Design Studio project at Arizona

made from, everyday products, such as tissue or

State University. In phase one of this project stu-

cereal boxes. In one variant, called the Free DIY

dents developed five interior wall concepts. They

Adaptive Re-use Version, the cutting pattern can

were then challenged to select one design and, as a

be downloaded from a website for the user to slot

team (Allyson Speakes, Alicia Rampe, Felicia Chave,

their own empty cereal or tissue boxes. For the

Dyelle Fairbanks, Ivet Gesheva, Rachel Israel, Pei-

proposed recycled chipboard version, the product

Pei Kao, Linda Miao Li, Carisa Mowry, Leah Schoen,

would ship sustainably flat-packed and come

Erin Yi, and Professor Deborah Schneiderman),

in an assortment of sizes, with optional veneers

further that concept and fabricate it at full scale. The

and wall orientations. Easily assembled and

selected solution, a slotted prefabricated modular

lightweight, the S3 Sustainable Slotted System is

wall system, is a fun and creative way to make

portable, adaptable, and reusable.

interior partitions that are basic enough that most people can build them themselves. The wall system was designed to appeal to a broad population regardless of socioeconomic status, offering multiple material options and C-Box [refined], installation at Arizona State University, 2009

C-Box [refined] diagram and cutting pattern

C-Box [refined], detail, installation at Arizona State University

40

Interior Walls

41

Interior Walls

42

C-Box diagram and cutting pattern

T-Box diagram and cutting pattern

C-Box prototype

T-Box prototype

Interior Walls

43

Kitchens

45

Kitchens

Closet #1, Parsons Kitchen Allan Wexler Studio, 1994

Allan Wexler’s Closet #1, Parsons Kitchen addresses

Closet #1 is the primary element of four

the prefabrication of place by providing a mixed

crates (the other elements have since been

program of workstation and kitchen. Reminiscent

removed) and was originally inspired by the

of the Hoosier Kitchen Cabinet and the Wooton

discovery of a small hidden space behind a wall

Patent Office Secretary, the 1994 kitchen was com-

in the lobby of the architecture department; the

missioned by Parsons The New School for Design

negative space of this area became its form. The

architecture program with funds from Wilson Art.

kitchen, when closed, is 3 feet 9 inches by 6 feet

A cross between architecture and sculpture, it is a

3 inches by 7 feet 2 inches (1.1 by 1.9 by 2.2

functional work from Wexler’s Closet Architecture

meters) and is fabricated of construction-grade

series, which included the 1991 Crate House and

plywood with laminate on select surfaces.2 This

the 1991 Rebuilt Braun Coffee Maker and inves-

project is not meant to be mass-produced; rather,

tigated reducing our lives into a kit of parts. Not

its form is derived from the specificity of its site

a traditional kitchen environment, the Parsons

and its irregularities. Constructed like a storage

Kitchen functions as the meeting space and bar for

crate, the kitchen fills the void within the wall

public events and receptions in the current School

when not in use; and rolls out and unfolds into

of Constructed Environments at Parsons The New

a service element, reception area, and meeting

School for Design.

space when needed.

1

Allan Wexler storing the Parsons Kitchen in the lobby’s wall void

Parsons Kitchen expanded

Additional kitchen closet units

Detail

46

Kitchens

47

Kitchens

Process diagram 1

Process diagrams 3, 4, 5, 6

48

Process diagram 2

Kitchens

49

Kitchens

Oma’s Rache Melanie Olle and Ilja Oelschlägel, 2006

Oma’s Rache was designed by Melanie Olle

provisions for cooking, dishwashing, dining,

and Ilja Oelschlägel for a class called “Compact

refrigeration, food preparation, and storage. Oma’s

Kitchen,” led by Professor Klaus Michel of the

Rache is opened with a touch mechanism, reveal-

Department of Interior Design at the University of

ing a three-dimensional experience with elements

Art and Design in Halle, Germany. The concept

extending up to 43 inches (1 meter) from the

behind Oma’s Rache (“Grandma’s Revenge” in

cabinet. Two upper panels allow for the cooking

German) revisits the kitchen wardrobes, the first

area to be either exposed to or concealed from

prefabricated kitchens of the nineteenth century.

the diners with a mechanism that permits access

This twenty-first-century version is a departure

to the upper cabinet without revealing the lower

from the storage function of the Hoosier Kitchen

workspace. Oma’s Rache is one of many inves-

Cabinet, instead forming an interface between

tigations that return to the typology of movable

kitchen and dining. Even when closed, the cabinet

kitchen furniture.

makes reference to its multiple functions with purposeful reveals outlining a table, two chairs, and a lamp, suggesting a dining scene. The element is only 79 by 98 by 27 inches (2 by 2.5 by 0.7 meters) when closed and houses Oma’s Rache, closed

50

The partially open kitchen

Kitchens

51

Kitchens

52

Kitchens

Counter configuration

opposite: Transitioning to dining

53

Dining configuration

Kitchens

Flow2 Studio Gorm, 2009

John Arndt and Wonhee Jeong of the Oregon-

composting bin, which can manufacture fertil-

based industrial design firm Studio Gorm created

izer for the kitchen’s herb garden component. An

the Flow2 kitchen for the 2009 exhibition Call +

integrated refrigerator with double walls keeps

Response at the Museum of Contemporary Craft in

food cool through evapotranspiration; the space

Portland, Oregon. Flow2 is made up of a system

between the double walls is filled with water,

of parts that can be integrated into an existing

which then evaporates, causing internal cooling.

environment but are most effective when assembled into a whole. The design is reflective of the packaged

According to the designers, Flow2 is “a living kitchen where nature and technology are integrated in a symbiotic relationship, processes

kitchen of the mid-twentieth century, including all

flow into one another in a natural cycle, efficiently

storage and appliance elements in a fully inte-

utilizing energy, waste, water, and other natural

grated assembly. Flow2 goes far beyond the origi-

resources. It provides a space not only for prepar-

nal packaged model, though, incorporating the

ing food but an environment that gives a better

act of growing food and reusing waste products. A

understanding of how natural processes work.

critical element of the sustainable design is the

A kitchen where food is grown, stored, cooked, and composted to grow more food.”3 The studio continues to work on a production version. The kitchen’s herb garden

Flow2 with its integrated dish rack, herb garden, refrigerator box, sink, and composting bin

Side view showing fruit storage, cooking utensils, and gas cooktop

54

Kitchens

55

Kitchens

Compost bin

Integrated chop and compost station

56

Diagram explaining the kitchen’s stations

Flow2’s kitchen landscape concept

Kitchens

57

Kitchens

Ekokook Faltazi, 2010

Laurent Lebot and Victor Massip of the French

The kitchen is equipped with three built-in

design firm Faltazi developed Ekokook with the

microprocessing plants for selecting, process-

support of a 2010 VIA Carte Blanche grant. Their

ing, and storing various types of waste, including

design references the packaged kitchen typology

organic (through an earthworm composter), solid,

but expands it by not only including cabinets,

and liquid. Ekokook thus eliminates the necessity

fixtures, and traditional appliances, but providing

to truck waste off site, reducing carbon dioxide

solutions to four critical issues: waste manage-

generation and atmospheric pollution. Gray water

ment, healthy cooking, reducing energy consump-

from washing dishes is filtered on site for use in

tion, and intelligent storage. The designers were

watering the integrated herbs and other plants.

frustrated with contemporary kitchen manufac-

The included electrical appliances, such as a

turers who continue to apply the hygienist and

twin-tier dishwasher, steam ovens, and refrigerator

functional principles of the twentieth century.

with compartments, are energy-efficient, further

Ekokook, in contrast, addresses needs beyond

emphasizing the kitchen’s sustainable program.

cooking, such as the short-term storage of fresh vegetables, water conservation, container gardening, sorting waste, recycling, and composting.

Diagram illustrating Ekokook’s three microplants

58

Ekokook prototype

Kitchens

59

Kitchens

Microplant 1

Microplant 3

Microplant 2

Composter

opposite: Diagram explaining the kitchen’s functions

60

Kitchens

61

Bathrooms

63

Bathrooms

Cirrus MVR Crowd Productions, 2008

Designed by Michael Trudgeon and Anthony

unit. Its fundamental design strategy is based

Kitchener of the Australian architecture and design

on the dual understandings that water is a lim-

firm Crowd Productions for their House of the

ited resource and that it is critical to protect our

Future project, the Cirrus MVR is a mobile plug-in

environment. The integrated bathroom unit is

bathroom that enfolds a complete bathroom into a

equipped with its own internal weather cycle and

wall unit, measuring 71 by 79 by 16 inches (1.8 by

purifies gray water from the incorporated bath,

2 by 0.4 meters), with the toilet, sink, and shower-

shower, and sink in a UV sterilizer, distilling it in a

head retracting into the main body of the unit and

mechanical vapor compression unit that continu-

the bathtub folding up into the shower recess. A

ally produces fresh water. Gray water is boiled in a

professional finalist in the 2008 Reese Bathroom

partial vacuum, which creates lower atmospheric

Innovation Award, the Cirrus MVR is a redesign of an

pressure, requiring much less energy; it is then

earlier 1996 version called Mobile Plug-in Bathroom.

sterilized by an ultraviolet light source. In addition

The element can be rolled into any serviced space

to the implementation of gray-water recycling, the

and connected to traditional plumbing and electrical

fittings are designed to reduce water use by 50

services via flexible hoses and electrical cabling.

percent, and the toilet is a dry toilet, using only 10

Made of stainless steel, the Cirrus MVR

percent of the water required by a traditional toilet.

is built around a water recycling and purifying

The Cirrus MVR expanded

The partially open bathroom

The closed unit

Bathing function

64

Bathrooms

65

Bathrooms

Frame an scale 1:40

Operational diagrams scale 1:20 200-liter water holding tank Movable scale 1:75

Mechcanical vapor compression unit

The bathroom module can be rolled into any serviced space to make it habitable.

Pull-out shower head and extractor fan

Pull-down bath handle

Pivoting fold-out toilet

Pivoting fold-out bath

Bath scale 1:75 The bath folds out from the stainless-steel module. The reclining surface is shaped to create the most minimal, comfortable water body.

Vapor extractor vent

Bath scale 1:25

Fold-out translucent hand basin

Pull out tilting shower head

Shower scale 1:75

Drip-free shut-off connectors

Pull-out tilt shower head is combined with a vapor extractor. The vapor is returned to the MVR water cycle. Vanity storage space

Retractable seat and shelf

Retractable faucet unit

Fold-out hand basin

Pivoting fold-out bath Extractor fan

Hand basin scale 1:75 Blue translucent plastic hand basin is shaped to maximize access to the smallest practical water body.

Pivoting fold-out toilet

Toilet scale 1:25

Toilet scale 1:75 Aircraft-style fold-out toilet deployed with pump action macerator only requires 1.5 liters of water for flushing. Connection to household services

66

Bathrooms

Frame and cladding scale 1:40

module can be erviced space able.

ut from the module. The is shaped to minimal, er body.

Bath scale 1:25

wer head is a vapor apor is MVR water

plastic hand to maximize mallest practical

Toilet scale 1:25

d-out toilet ump action equires 1.5 flushing.

67

Operational diagrams

Bathrooms

The Flo John Takamura, Jr., Dosun Shin, Tamara Christensen, and Dean Bacalzo, 2006

The Flo toilet, developed by an industrial design

employs an electromagnetic ball valve to

faculty/graduate student team at Arizona State

transport water from the tanks to the toilet, thus

University (including John Takamura, Jr., Dosun

making it self-sustaining and independent from

Shin, Tamara Christensen, and Dean Bacalzo),

the power grid. Two toilet tanks are controlled by

reconsiders the design of the toilet in terms of

infrared sensors and supplied with water that is

physiology and sustainability Reflecting on Kira’s

captured from the sink. The bidet element reduces

seminal bathroom studies and his squat toilet,

material consumption by minimizing the use of

the Flo pays particular attention to the position

toilet paper.

of the user. The toilet, which was recognized

Going beyond a simple aesthetic reconsid-

by the Industrial Designers Society of America

eration of the toilet, the design team has addressed

North Western Invitational Competition 2009 as a

issues of sustainability in both material­—Tenile

Silver Award winner, has an ergonomic form that

Cellulosics—and function, as well as promoted

requires a healthier posture by the user, strength-

the physiological health of users.

ening abdominal and back muscles. Smoothly incorporating in one element the functions of bidet and sink, the Flo has no mechanical parts, but Mechanical concept

The Flo toilet and sink

Sink detail

68

Bathrooms

69

Bathrooms

Flo diagram

Side view illustrating the toilet in use

Magnetic ball detail

70

Side and top view mechanical

Toilet detail

Bathrooms

71

Bathrooms

Kullman Bathroom PODS Kullman Buildings Corporation, 2009–2010

The Kullman Buildings Corporation of Lebanon,

multiple building typologies, including hospitals,

New Jersey, has been a manufacturer of modular

dormitories, and hotels.

buildings since 1927, and it is now a world leader

Unlike the Dymaxion Bathroom, the

in the production of prefabricated bathroom pods.

Kullman Bathroom POD is not a specific designed

The company was in fact its own first client for its

element, but can be customized to meet varied

line of prefabricated bathrooms. In the late 1980s,

client needs and designer specifications. Pods can

the firm realized that the complexities involved in

be installed into any project type (new construc-

the fabrication of the bathroom, such as qual-

tion or renovation) and can accommodate single

ity control, overruns in budget and schedule,

users or commercial applications with multiple

and the coordination of trades, were slowing

stalls. Similar to the Dymaxion, the pods are

down its modular construction processes. It was

inclusive fabrications with walls, ceiling, and

determined that a separate off-site assemblage of

floor, delivered to the site fully fitted with fixtures,

bathroom pods, slid into the partially constructed

plumbing, wiring, and finishes. As a sustainable

modular buildings at the appropriate point in

benefit, the pods can be repurposed; even if a

production, would save time and reduce cost. In

building is being demolished, the bathroom pods

2006 Kullman started marketing its bathroom pods

can be removed, renovated, and installed in

as a separate component and now installs them in

another project.

Kullman POD Tour promotional material, 2010

Kullman Bathroom PODS in the factory

Kullman POD Tour truck and trailer

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Bathrooms

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Bathrooms

PODs in the factory, interior view

PODs in transit

Bathroom POD installation

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POD wrapped for transit

opposite: Small Bathroom POD, interior

Bathrooms

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Bathrooms

Co-Pod colab architects, initial design 2005, updated 2010

The co-Pod, developed by Gary McLuskey, Steve

modern house, including power, lighting, ventila-

Penn, and Danijela Cannon of the London-based

tion, heating, electrical services, and communica-

firm colab architects, is a prefabricated system

tions, and can be used singularly or stacked to

composed of four pod typologies: a shower room

facilitate the building of a multilevel house.

and kitchen unit; a staircase, toilet, and kitchen

The pods are designed to be centrally

unit; a staircase and bathroom unit; and a stair-

located in the building and to work with any

case void and bathroom element. Incorporating

type of external envelope, including brick, metal

all of the fixtures and mechanical equipment

frame, and timber frame, among others, enabling

necessary for the bathroom and kitchen of a small

a variety of projects to achieve the consider-

house, the co-Pod, winner of the Best Off-Site

able economic and sustainable benefits of

Solution award at Interbuild in 2006, is remi-

off-site construction. The versatility of the design

niscent of the inclusiveness of the Dymaxion

enables mass customization—assembled units

Bathroom, as well as Bertrand Goldberg’s 1946

can become anything, ranging from the core of a

Standard Prefabricated Bathroom. The co-Pod’s

studio apartment to the formative planning basis

four typologies can be assembled in various

for an entire city.

configurations in a range of different house types. The units contain all of the services essential to a Stacked pods

Shower room pod

Bathroom pod

overleaf: Exploded axonometric (shower room)

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Bathrooms

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Bathrooms

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Bathrooms

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Furniture

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Furniture

After Words Hussein Chalayan, 2000

Cyprus-born fashion designer Hussein Chalayan

After Words is an assembly of furniture that

takes inspiration from the built environment to

transforms into clothing. A symbolic sitting room

create garments that reflect upon the intersection

is composed of mid-twentieth-century modern–

of body and space. His clothing line exemplifies

style chairs surrounding a circular coffee table.

shared strategies in fashion, interior design, and

The chair’s slipcovers transform into dresses,

architecture, while being grounded in storytelling.

and the circular table morphs to become a skirt

According to Chalayan, “Everything around us

through a telescoping mechanism, while the body

either relates to the body or to the environment.

of each chair folds into a suitcase. The inherent

I think of modular systems where clothes are like

camouflage is multilayered; the valuable dresses

small parts of an interior, the interiors are part

are disguised as an interior environment through

of architecture, which is then a part of an urban

the furniture, which is again transformed. The

environment. I think of fluid space where they are

integrated fashion/furniture can refabricate the

all a part of each other, just in different scales and

home that was fled in wartime migrancy. As best

proportions.” Inspired by the stories and images

described by Chalayan, the clothing becomes a

of people leaving behind their homes in Kosovo

means to transport the environment.2

1

during the Bosnian War and by his own childhood experience as a Turkish Cypriot fleeing Cyprus, After Words living room

Transformation of the slipcovers into dresses

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Furniture

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Furniture

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Furniture

Coffee table

Transformation of the coffee table

Coffee table skirt

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Suitcases and skirt

Furniture

90° Furniture KapteinBolt, 2008

90° Furniture, designed by Louwrien Kaptein of

lock the rotated portions of the panels into their

the Dutch design firm KapteinBolt, is a reflection

functional horizontal positions. The units, made

on the dialogue between space and furniture,

of medium-density fiberboard, are left unfinished,

constructing interior space through the assem-

providing the user with the freedom to custom-

blage of four units: a working unit, a sitting and

ize not only the three-dimensional space but also

sleeping unit, a cooking unit, and a storage unit.

the two-dimensional finish. The dimensions of

The name is derived from the concept of unfold-

the panels, 44 by 72 inches (1.1 by 1.8 meters),

ing the four preassembled two-part panels at a

are based on Le Corbusier’s Modular, but revised

90-degree angle, both horizontally and vertically,

with a consideration of the size and proportion of

to form the units. When unfolded, each unit is

today’s body.

a dividing screen and programmed living space at once. The elements can be sited individually to define discrete areas, or be assembled combined to become the basis for an entire interior environment. Delivered folded and flat-packed, the panels are secured with stainless steel pins that Closet panels

Assembled closet

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90° Furniture assembled

Furniture

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Furniture

Bedroom

Dining area

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Closet

Furniture

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Furniture

Kenchikukagu Atelier OPA, 2008

Kenchikukagu, designed by Toshihiko Suzuki of

The unit’s dimensions are reflective of the typically

the Japanese firm Atelier OPA and manufactured

small size of Japanese apartments, which often do

by the Tada Furniture Company, represents an

not have enough space for a guest room. When

intersection between architecture and furniture.

folded, it measures 16 by 71 by 47 inches (40 by

Composed of three cabinetlike elements—a

180 by 120 centimeters). The Foldaway Office is

Mobile Kitchen, Foldaway Guestroom, and

reminiscent of the Wooton Patent Cabinet Office

Foldaway Office—the system unfolds to form a

Secretary but includes an integrated chair, in addi-

complete interior environment with a high degree

tion to a desk, drawers, and a shelf. When folded,

of interchangeability.

the cabinet measures 20 by 61 by 29 inches (50

The Mobile Kitchen, which is representa-

by 155 by 100 centimeters). Like the other two

tive of the packaged unit typology and includes an

units, the Foldaway Office conceptually integrates

electrical connection, cooking element, and sink,

into an existing interior environment through

measures only 46 by 24 by 36 inches (116 by 61

transportability and adaptability, while also

by 88 centimeters), when closed. The Foldaway

providing the capability to segment and define

Guestroom expands the traditional concept of the

space.3

Murphy bed to an encapsulated lit-clos environment with a bed, a small shelf, and a light. Kitchen, office, and guest room cabinets

Assembling the kitchen

Mobile Kitchen, Foldaway Office, and Foldaway Guestroom in use

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Furniture

91

Furniture

Office in use

Assembling the guest room

Guest room in use

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Kitchen detail

Furniture

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Furniture

Playground for Leif Designliga, 2009

Playground for Leif, designed by the Munich-

the child is on top, and wall and ceiling when the

based multidisciplinary design firm Designliga,

child occupies the tunnel spaces formed within

transcends the traditional concept of furniture,

and underneath. Each 16-by-16-by-19.5-inch

creating a holistic living environment for a

(40-by-40-by-50-centimeter) module conceals

child. The furniture system was developed for

a function, including a storage box, lamp, and

Designliga cofounder Sasa Stanojcic’s son Leif

wardrobe. Beyond the dimension of the single

and reinterprets the requirements of a children’s

cube, the assemblage also incorporates a desk, a

bedroom. The typical child’s room is a miniatur-

dresser, and a bed surrounded by the densely pad-

ized version of its adult counterpart, distinguished

ded lids of the modular elements that prevent the

merely in scale and surface. For this investigation,

child from falling out of the system. The modules

the designers observed Leif’s behavior and recog-

can be arranged and rearranged according to the

nized that children love to play, climb, build forts,

needs and wants of the user. When assembled, the

and make their own decisions about how they

construction is not only functional and safe, but

want to inhabit and behave in their own spaces.

the formed positive and negative spaces create

The system’s prefabricated modular ele-

habitats for play, including tunnels and climbers.

ments, when assembled, construct a transformable environment, becoming floor and furniture when Cubbyhole detail

Bed and storage modules

Bed modules

overleaf: Assembled modules with bed, desk, and storage functions

94

Furniture

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Furniture

96

Furniture

97

Office

99

Office

Clipper CS-1 Douglas Ball with Jeff Sokalski, 1993

The Clipper CS-1, designed by Douglas Ball with

prefabricated work environment had the ability

Jeff Sokalski and manufactured by Newspace from

to completely enclose the user. Narrower than its

1993 to 1996, is an efficient capsulelike worksta-

predecessor at 7 by 4 feet when closed and made

tion that places everything within reach of its occu-

of Lexan, with solid maple and stainless steel, the

pant. Industrial designer Ball developed its form to

capsule housed adjustable reading lights, ventila-

mimic the experience of driving his car. The work-

tion, and space for a computer, files, printer, and

station’s seat was more reclined than traditional

personal items. Like the original workstation, the

office chairs, and the computer screen was located

Clipper CS-1 has its grounding in ergonomics. Its

at eye level, like the road. An installed canopy

seat glides and tilts on a rail, and the footrest can

controlled the influx of natural light and created a

be adjusted to allow for an exact custom fit to a

shield from distractions. Constructed quickly, the

wide range of body sizes. Although scaled to the

1984 prototype was followed by a more durable

individual user, the design of the capsule fosters

model within which Ball did all of his work for the

flexibility and collaboration. The unit is equipped

next seven years.

with casters, making it readily relocatable (with

The 1993 Clipper CS-1, now in the perma-

the sides removed, it fits through a standard

nent collection of the Design Museum in London,

doorway), and the capsule’s extendable side-wing

was entirely reconsidered. The new capsulelike

tables provide meeting space for multiple users.1 Sketch for the original capsule

Clipper CS-1 Capsule, 1994

Capsule prototype, 1984

Original capsule

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Office

101

Office

Interior showing air supply and lights

Working position of the user

Partially dismantled capsule for relocation by elevator

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Office

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Office

Office POD Image Products, 2008

Designed by the Australian photographer Ross

can easily be transported and reused, eliminating

Coffey, the Office POD recalls the Wooton Patent

the waste typically associated with trade show

Cabinet Office Secretary, incorporating storage

booths, while the materiality of the pod, which is

and a work surface in a prefabricated unit. Winner

made of translucent acrylic, allows for the trans-

of the 2008 Interior Design Excellence Award

mittal of light and air.

(IDEA), the design transcends the standard concept of a singular workstation, however, having the capability of morphing into an office, hospitality, or promotion space. The flexible mobile element is a combination of a unit and screen system, and can, when not in use, easily be closed and rolled to storage on caster wheels. The programmatic possibilities include using the system in a residential setting as a prefabricated interior wall to separate a bedroom from an office space in a loft or studio apartment, as well as utilizing it as a trade show booth. The unit Loading the Office POD into the elevator

104

Transport on caster wheels

Office

105

Office

106

Storage shelves

The Office POD in use

Side view showing storage and desk

Expanded aerial view illustrating the pod’s possible use as a trade show booth

Office

107

Office

Dilbert’s Ultimate Cubicle IDEO, 2001

The visionary Dilbert’s Ultimate Cubicle, designed

modular design of Dilbert’s Ultimate Cubicle

by the global innovation and design practice

enables users to define, configure, and control

IDEO, was a collaborative effort between IDEO’s

their immediate work environment. The final

design team, led by Fred Durst, and Dilbert comic

prototype comprises a prefabricated kit of parts

strip creator Scott Adams, who approached the

from which the user can select elements based on

firm in 2001 to create the ideal cubicle for his

individual needs, wants, and styles of work.

comic figure. A 2002 IDEA Gold award winner,

Concept elements range from those with

the design reflects thousands of email commu-

programmed functionality, including modules

nications from cubicle users, input from Adams,

for whiteboards, corkboards, tray shelves, and

and the experience of the designers who lived in

drawers; a desk surface; and a drop-down seat

an assembled “Dilbertville” for several weeks as a

for visitors; and those considering user taste and

component of their research.

lifestyle, such as a hammock, an aquarium, a shoe

2

The primary concern of the designers’

polisher, and an acoustically activated mechani-

investigation was to make the cubicle more livable

cal flower that wilts when the user is absent and

and to solve critical issues within the standard

revives when the user returns.3

partition-based cubicle environment, including insufficient user control, privacy, and space. The Scott Adams in the prototype cubicle, which features a top row of lights that simulate the sun’s movement during the course of a day

108

Desk element

Storage modules

Office

109

Office

Closet module

110

Drop-down flower chair

Office

111

Office

OfficePOD OfficePOD, 2009

The 2009 OfficePOD, manufactured by the

office, a backyard, or even a train station. As an

London-based company OfficePOD, is a prefabri-

interior element, the OfficePOD can be placed

cated work environment that can be assembled on

within an existing structure as a complete and

or off site. Made primarily from natural, recycled,

ready-to-use private office, including all elements

and recyclable materials, the unit is designed

necessary, incorporating walls, ceiling, and floor,

for low-energy consumption with a high level of

in addition to furniture, storage, power, lighting,

insulation and an innovative cooling system. The

and even ventilation.

self-contained element, measuring 6 feet 9 inches

The procurement of the OfficePOD is as

by 6 feet 9 inches (2 by 2 meters), is conceived

innovative as its design, as companies can lease

to provide an alternative office environment that

the units rather than purchase them, reducing or

may be used in multiple settings. When placed at

eliminating up-front construction costs. This pro-

home, it eliminates the need for commuting and

vides companies with abundant workspace flex-

hence reduces carbon emissions; when installed at

ibility, fostering innovation and creativity. When

work, it decreases construction costs and provides

companies no longer require their OfficePODs,

significant flexibility for future office reorganization

they can be leased to a new user.

projects. The units can be used in diverse locations, including an existing or newly constructed The OfficePOD placed in a private yard

The OfficePOD with integrated desk and storage

Door detail

overleaf: Interior

112

Office

113

Office

114

Office

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Prefabricated House Interiors

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Prefabricated House Interiors

Furniture House Shigeru Ban, 1995

Shigeru Ban has exhibited a well-focused pur-

his investigations into unique forms of

pose in his design approach, uniquely devising

structure.2

techniques of prefabrication that not only exhibit

For the design and construction of the

a strong aesthetic but also reduce the building’s

first Furniture House, Ban collaborated with a

requirements for materials and time, and the

furniture manufacturer, with all elements manu-

amount of project waste. Ban’s design for the

factured and finished off site. Furniture House 1

Furniture House relies on the prefabrication of

included two types of furniture elements—open

furniture units that both function as place-making

bookcases and cabinets with doors—and the

elements and form the structural basis of the

construction was based on furniture modules

house. Furniture House 1 was completed in 1995,

measuring 35 by 94 by 18 inches (90 by 240 by

with five houses of the typology built to date,

45 centimeters) for bookcases and 35 by 94 by 28

including Furniture House 2 (a two-story house)

inches (90 by 240 by 70 centimeters) for cabinets.

and the Bamboo Furniture House.1 Ban’s devel-

With Furniture House 2, Ban expanded furniture

opment of furniture as a means for structure was

functionality by including additional elements,

prompted by the high frequency of earthquakes

such as a sink, kitchen, staircase, and closet hous-

in Japan, where many deaths result from falling

ing an air-conditioning unit.

furniture, and formed a natural progression in

118

Placement of furniture during construction

Furniture House I, construction

Cabinet element

Construction shot with furniture in place

Prefabricated House Interiors

119

Prefabricated House Interiors

Exploded axonometric

Interior

Plan

Section

120

Prefabricated House Interiors

121

Prefabricated House Interiors

A-Z Cellular Compartment Units Andrea Zittel, 2001

Andrea Zittel is an artist whose work balances on

the A-Z Cellular Compartment Units were

the boundary of art and design, often manifesting

produced for the IKON gallery in Birmingham,

in an architectonic form. In her investigations,

England, in 2001, and Zittel lived in them with a

Zittel has explored many prototypes for living,

few friends for four weeks. A second set was pro-

including her Living Units, Raugh Furniture,

duced for, and in collaboration with, Sammlung

Wagon Units, and Homestead Unit. The notion of

Goetz.4

the scale of the relationship of the body to physi-

The units are at the intersection of architec-

cal space is critical in Zittel’s work, though it is

ture and furniture, at once resembling a modern

more about the “physical experience of being in

apartment building and a cabinet system creating

that place rather than the practicalities of day-to-

a new exterior that resides within the interior envi-

day life in that space,” as the artist states.3

ronment. The modular elements, manufactured

The A-Z Cellular Compartment Units con-

from stainless steel, birch plywood, and glass, and

sist of ten stackable compartments, each measur-

containing household objects such as a stove, TV,

ing only 96 by 48 by 48 inches (2.4 by 1.2 by 1.2

and computer, can be arranged and readily recon-

meters), that transform a one-room space into a

figured according to user preference.

ten-room habitat. The first prototype elements for

Installation at Schaulager, Basel, 2008

Entry interior

Bedroom compartment Kitchen compartment

overleaf: Installation at the Andrea Rosen Gallery, New York, 2002

122

Prefabricated House Interiors

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Prefabricated House Interiors

124

Prefabricated House Interiors

125

Prefabricated House Interiors

Composite House su11 architecture + design, 2002

Designed by Ferda Kolatan and Erich

unit.”5 The units’ epoxy finish meets the needs of

Schoenenberger of the New York–based firm su11

both the interior and exterior environments and

architecture + design, the Composite House is an

further de-emphasizes the role of the exterior by

inherently flexible prefabricated housing system

eliminating the difference in surface finishes.

based on programmed interior elements, which

Kolatan and Schoenenberger reconceived

the designers call “add-ons.” The house is an

this conceptual system several times, and in 2010

unbuilt prototype, whose organization of integral

designed and custom-fabricated, together with

and connected parts reflects a design ethos that

Associated Fabrication, the K_Residence, a multi-

is as much about the interior of a building as the

functional, multiprogrammatic evolution of an

exterior. The add-ons are prefabricated multipro-

add-on, which they dubbed the “Interior Sleeve.”

grammed furniture-type units, which are designed

In the K_Residence, the Interior Sleeve, a combi-

to fulfill specific functions, and are at once furni-

nation of highly customized Corian and generic

ture, appliance, and architecture. The units can

wood, wraps around walls and ceiling, thickening

have walls, stairways, doors, or storage attached

and thinning at times, providing spatial nooks and

to them and are at once interior and exterior, such

niches without fixed programmatic boundaries.

as a “kitchen sink-outdoor shower-rooftop hot tub unit” or an “indoor fireplace-outdoor grill-stairs Composite House II, sink/ tub/and hot tub/sauna configurations

Axonometric

Possible add-on configurations

126

Prefabricated House Interiors

127

Prefabricated House Interiors

Composite House II, possible configurations

K_Residence axonometric

K_Residence, bedroom Composite House II, possible configurations

128

Prefabricated House Interiors

129

Prefabricated House Interiors

Cell Brick House Atelier Tekuto, 2004

The Cell Brick House, designed by Yasuhiro

storage element consisting of a modular box that

Yamashita of the Tokyo-based architectural firm

can be further subdivided with shelves or can

Atelier Tekuto, represents a culminating investiga-

incorporate drawers. The structural cubbyholes

tion of prefabricated modular furniture as place-

hold dishes, small appliances, and pantry items,

maker. The typologies of the module as interior

as well as books and other personal objects, ren-

furniture element and as a building block are

dering freestanding cabinets and shelves unnec-

fused in Yamashita’s design. Sited on a compressed

essary. An exterior coating, composed of a fused

Tokyo lot of only 355 square feet (33 square

ceramic material that has advanced properties of

meters), the house combines the building’s skin,

heat transmission and resistance, differentiates the

structure, and storage all in one.

materiality of interior and exterior. The modules

Prefabricated steel modules, measuring 35

are staggered with glass panels, some of which

by 18 by 12 inches (90 by 45 by 30 centimeters)

are operable, creating windows that allow the

each, are stacked three stories high and connected

transmittance of light.6 Like Ban’s Furniture House, the Cell Brick

with high-tension steel bolts. Yamashita termed this construction technique void masonry: From

House relies on furniture modules as structural ele-

the outside each module looks like a concrete

ments. Without the prefabricated interior/exterior

masonry unit. From the inside, however, it is a

elements, the building neither functions nor stands. Exterior

Children’s room

Living area

overleaf: Living area

130

Prefabricated House Interiors

131

Prefabricated House Interiors

132

Prefabricated House Interiors

133

Glossary Assemblies Small parts are preassembled off site into assemblies, thus reducing the number of components that require on-site construction. In the built environment, delivering too many individual parts has been blamed for the failure of prefabricated endeavors, such as the problematic Lustron House and the first iteration of the Eames Storage Unit. Coordinated Furniture Elements of a furniture group that when arranged, either as modular elements of a whole or as freestanding units, work together to create space in a place-making manner. Dymaxion R. Buckminster Fuller generated the term dymaxion with the assistance of a wordsmith to combine the words dynamic and maximum, and the scientific ending -ion. The term is copyrighted in Fuller’s name and is part of the names of many of his artifacts.1 Mass Customization Mass customization allows the user to customize a massproduced system of elements by assembling the complete whole in a variety of ways. Modular furniture in particular lends to mass customization of its prefabricated pieces. The Eames Storage Unit represented the first true such realization in furniture, as the user could not only customize the whole through the placement and selection of modules, but also choose the material and color of the individual parts that comprised the module. Mass Production The Industrial Revolution enabled the quantity-driven production of goods in factories, including those that construct the vocabulary of prefabricated interiors. Mass production was often the overarching vision for, if not the outcome of, prefabricated house investigations, as well as for prefabricated furniture (both modular and typical), kitchens, and bathrooms. Module A building block of customizable prefabricated space. The significance of the module is evident in architecture in the most basic unit of the brick. In interior design systems of modular components are the basis of any number of elements, from furniture to kitchens and office environments. The module on its own typically does not serve its intended function. However, in repetition, it can function as a creator of defined spatial environments. The module constitutes the basis for much of the prefabricated interior. 134

Off-site Fabrication This is a term that predates the word prefabrication and is also preferred by some contemporary designers who purport that it is a more accurate descriptor. Off-site fabrication refers to parts of the building, interior or exterior, that are being assembled in a place other than the building site (typically a controlled factory environment). Ideally, assemblies are fabricated simultaneously in various locations, reducing total construction time and costs, and fully assembled into the whole at the building site. This type of process has been best manifest in auto industry fabrication and assembly practices.2 Packaged The term packaged gained popularity in the 1940s to describe complete prefabricated kitchens. Walter Gropius’s prefabricated Packaged House of 1942, a collaboration with Konrad Wachsmann, further encouraged the use of the terminology.3 The mid-twentieth-century packaged kitchen could be characterized as either the unit or modular typology; in both instances, a packaged kitchen incorporated all cabinetry, appliances, lighting, and sometimes ventilation. Whether complete units or composed of modular elements, the kitchens were typically self-supporting, with the modular designs including a structural frame. As such, they were discrete assemblages that were separate from the structure of the house, and could be inserted into any building regardless of its structural definitions. In its most inclusive form, the packaged unit incorporated both the kitchen and the bathroom with a shared, fully mechanical core. Place-making Place-making occurs when elements act together to organize an undefined area into a cohesive defined and programmed space. Prefabrication Prefabrication refers to parts of the building, interior or exterior, that are assembled in a place other than the building site (typically a controlled factory environment).4 See also off-site fabrication. Productize In prefabricated interior design, productizing refers to the translation of a custom design into a mass-producible, marketable product. The custom design becomes the prototype.

Glossary

Prototype Full-sized functional model. Screen An element that is utilized to divide space either as a relatively fixed or readily movable object. The screen was the first prefabricated architectonic element. Unit As a primary defining element of prefabricated interior design, the term unit is used to describe elements that are created in their entirety as a single all-inclusive piece.

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Notes Introduction 1. Jill Herbers, Prefab Modern (New York: Harper Design International, 2004), 14. 2. Bryony Coles and John Coles, Sweet Track to Glastonbury: The Somerset Levels in Prehistory (New York: Thames and Hudson, 1986), 62–63. 3. Allison Arieff and Bryan Burkhart, Prefab (Layton, UT: Gibbs Smith, 2002), 13. 4. Gilbert Herbert, “The Portable Colonial Cottage,” Journal of the Society of Architectural Historians 31, no. 4 (1972): 261–64. 5. Douglas Knerr, Suburban Steel: The Magnificent Failure of the Lustron Corporation, 1945–1951 (Columbus, OH: Ohio State University Press, 2004), 78–79. 6. Katherine Cole Stevenson and H. Ward Jandl, Houses by Mail: A Guide to Houses from Sears, Roebuck and Company (Washington, DC: Preservation Press, 1986), 29–30. 7. Dianne Lee van der Reyden, “Technology and treatment of a folding screen: comparison of oriental and western techniques,” in The Conservation of Far Eastern Art: Preprints of the Contributions to the IIC Kyoto Congress, Kyoto, 19–23 September 1988, ed. John Mills, Perry Smith, and Kazuo Yamasaki (London: International Institute for Conservation of Historic and Artistic Works, 1988), 64–68. 8. Karen Franck and R. Bianca Lepori, Architecture from the Inside Out: From the Body, the Senses, the Site, and the Community (Chichester, England: Wiley-Academy, 2007), 69. 9. Penelope Rowlands, Eileen Gray, Compact Design Portfolio, ed. Marisa Bartolucci and Raul Cabra (San Francisco: Chronicle Books, 2002), 6–14. 10. John Neuhart, Marilyn Neuhart, and Ray Eames, Eames Design: The Work of the Office of Charles and Ray Eames (New York: Harry N. Abrams, 1989), 79. 11. Lance Knobel, Office Furniture: Twentieth-Century Design (London: Unwin Hyman, 1987), 44–46. 12. Alvin E. Palmer and M. Susan Lewis, Planning the Office Landscape (New York: McGraw-Hill, 1977), 3–5. 13. Stanley Abercrombie, George Nelson: The Design of Modern Design (Cambridge, MA: MIT Press, 1995), 210–11. 14. Ralph Caplan, The Design of Herman Miller (New York: Whitney Library of Design, 1976), 76. 15. Stanley Abercrombie, “Office Supplies: Evolving Furniture for the Evolving Workplace,” in On the Job: Design and the American Office, ed. Donald Albrecht and Chrysanthe B. Broikos (New York: Princeton Architectural Press, 2000), 81–97. 16. John F. Pile, Open Office Planning: A Handbook for Interior Designers and Architects (New York: Whitney Library of Design, 1978), 32–34. 17. “Post-Cubist: How a Hip, Young Turkish Designer is Breaking Down the Square American Office,” Metropolis 19, no. 3 (1999): 98–103. 18. Colin Davies, The Prefabricated Home (London: Reaktion Books, 2005), 44–55 and 148–49. 19. Jonathan Ochshorn, “Curtain Wall System,” in Encyclopedia of 20th Century Architecture, vol. 1, ed. R. Stephen Sennott (New York: Fitzroy Dearborn, 2004), 335–37. 20. Ken Tadashi Oshima, “Postulating the Potential of Prefab: The Case of Japan,” in Home Delivery: Fabricating the Modern Dwelling, by Barry Bergdoll and Peter Christensen (New York: Museum of Modern Art, 2008), 32. 21. Kiyoshi Seike, The Art of Japanese Joinery (New York: J. Weatherhill, 1977), 14. 22. Ruth Oldenziel, “Exporting the American Cold War Kitchen: Challenging Americanization, Technological Transfer, and Domestication,” in Cold

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War Kitchen: Americanization, Technology, and European Users, ed. Ruth Oldenziel and Karin Zachmann (Cambridge, MA: MIT Press, 2009), 315–40. 23. Catharine Beecher and Harriet Beecher Stowe, The American Woman’s Home (New York: J. B. Ford and Company, 1869), 32–33. 24. Dolores Hayden, The Grand Domestic Revolution: A History of Feminist Designs for American Homes, Neighborhoods, and Cities (Cambridge, MA: MIT Press, 1981) 58–60. 25. Mary Anne Beecher, “Promoting the ‘Unit Idea’: Manufactured Kitchen Cabinets (1900–1950),” APT Bulletin 32, no. 2 (2001): 27–28; Ellen Lupton and J. Abbott Miller, The Bathroom, the Kitchen, and the Aesthetics of Waste: A Process of Elimination (New York: Kiosk, 1996), 43. 26. Lupton and Miller, The Bathroom, the Kitchen, and the Aesthetics of Waste, 43. 27. Joy Parr, “Modern Kitchen, Good Home, Strong Nation,” Technology and Culture 43, no. 4 (2002): 661. 28. Susan R. Henderson, “A Revolution in the Woman’s Sphere: Grete Lihotzky and the Frankfurt Kitchen,” in Architecture and Feminism, ed. Debra Coleman, Elizabeth Danze, and Carol Henderson (New York: Princeton Architectural Press, 1996): 235–37. 29. Jill Herbers, Prefab Modern (New York: Collins Design, 2004), 82–87. 30. Helen McCollough, “The Kitchen of Tomorrow,” Journal of Home Economics vol. 37, no. 1 (1945): 8–10. 31. Glenn H. Beyer, The Cornell Kitchen: Product Design through Research (Ithaca, NY: New York State College of Home Economics in association with Cornell University Housing Research Center, 1953), 62–68. 32. Abercrombie, George Nelson, 93. 33. Charlotte Benton, “Le Corbusier: Furniture and the Interior,” Journal of Design History 3, no. 3 (1990): 104–16. 34. Christopher Wilk and Marcel Breuer, Marcel Breuer: Furniture and Interiors (New York: Museum of Modern Art, 1981), 59–61. 35. George Nelson and Henry N. Wright, Tomorrow’s House: How to Plan Your Post-War Home Now (New York: Simon and Schuster, 1945), 132–42. 36. Pat Kirkham, Charles and Ray Eames: Designers of the Twentieth Century (Cambridge, MA: MIT Press, 1995), 256. 37. Ignazia Favata, Joe Colombo and Italian Design of the Sixties: Commentary and Catalogue, 1st MIT Press ed. (Cambridge, MA: MIT Press, 1988), 20–22. 38. Beecher, “Promoting the ‘Unit Idea,’” 28–32. 39. Camille Showalter and Janice Driesbach, Wooton Patent Desks: A Place for Everything and Everything in its Place (Indianapolis, IN: Indiana State Museum, 1983), 35–37. 40. Ellen Lupton, Mechanical Brides: Women and Machines from Home to Office (New York: Cooper-Hewitt National Museum of Design Smithsonian Institution; New York: Princeton Architectural Press, 1993), 50. 41. Judith Nasatir, “Allan Wexler,” Interior Design 65, no. 7 (1994): 146–47. 42. Lupton and Miller, The Bathroom, the Kitchen, and the Aesthetics of Waste, 3 43. Alden Hatch, Buckminster Fuller: At Home in the Universe (New York: Crown Publishers, 1974), 279. 44. Colin Davies, The Prefabricated Home (London: Reaktion Books, 2005), 223. 45. “Prefabricated Bathroom,” Architectural Forum 87, no. 1 (1947): 13. 46. Alexander Kira, The Bathroom: Criteria for Design, (Ithaca, NY: Center for Housing and Environmental Studies, Cornell University, 1966), 1, 116.

Notes

47. Joseph Aronson, The Encyclopedia of Furniture, 3rd rev. ed. (New York: Clarkson Potter, 1965), 231, 285 48. Ettore Sottsass, Italy: The New Domestic Landscape: Achievements and Problems of Italian Design, ed. Emilio Ambasz (New York: Museum of Modern Art, 1972), 162–63. 49. Linda Garnitz, “Projects & People,” Pace Interior Architecture 78 (May 1995): 30, 32. 50. Erwan Bouroullec et al., Erwan and Ronan Bouroullec (London: Phaidon, 2003), 3.

4. Rainald Schumaker, “A-Z Cellular Compartment Units Customized by Sammlung Goetz,” in Andrea Zittel, ed. Sammlung Goetz and Ingvild Goetz, (Munich: Herausgeber, 2003), 119. 5. Eva Pankenier, “Systematic Variations: su 11 Designs Environments That Are Catching Up with the Way We Live,” 306090 no. 03 (2002): 9–17. 6. Ken Tadashi Oshima, “Postulating the Potential of Prefab: The Case of Japan,” in Home Delivery: Fabricating the Modern Dwelling, by Barry Bergdoll and Peter Christensen (New York: Museum of Modern Art, 2008), 102–104.

Interior Walls

Glossary

1. Barry Bergdoll and Peter Christensen, Home Delivery: Fabricating the Modern Dwelling (New York: Museum of Modern Art, 2008), 185. 2. Katie Gerfen, “Active Phytoremediation Wall System,” Architect, 98 no. 8 (August 2009): 48–51. 3. Greg Lynn, “Blobwall,” Architectural Design 27, no. 2 (2000): 97–99.

1. R. Buckminster Fuller and Robert Marks, The Dymaxion World of Buckminster Fuller (Garden City, NY: Anchor Books, 1973), 21. 2. Stephen Kieran and James Timberlake, Refabricating Architecture: How Manufacturing Methodologies are Poised to Transform Building Construction (New York: McGraw-Hill, 2004), 43–46. 3. Gilbert Herbert, The Dream of the Factory-Made House: Walter Gropius and Konrad Wachsmann (Cambridge, MA: MIT Press, 1984), 76. 4. Kieran and Timberlake, Refabricating Architecture, 43.

Kitchens 1. Judith Nasatir, “Allan Wexler,” Interior Design 65, no. 7 (1994): 146–47. 2. All measurements follow the order of width, height, depth. 3. John Arndt and Wonhee Jeong, “Flow2,” Studio Gorm Informational Material, 2009, 2.

Bathrooms 1. John Takamura, Jr., Dosun Shin, Tamara Christensen, and Dean Bacalzo, “The Flo Toilet,” Innovation: Quarterly of the Industrial Designers Society of America (Winter 2008): 63.

Furniture 1. Hussein Chalayan explains his philosophy of proportion in fashion as it relates to the built environment to Bradley Quinn in the article “A Note: Hussein Chalayan Fashion and Technology.” Bradly Quinn, “A Note: Hussein Chalayan, Fashion and Technology,” Fashion Theory 6, no. 4 (2002): 359–68, doi: 10.2752/136270402779615325. 2. Megan Hoffman, “Is a Fashion Show the Place for Social Commentary? Investigating the Spectacle Dressed Up in Ides in Hussein Chalayan’s After Words,” Austrailasian Drama Studies no. 54 (April 2009): 38–40. 3. Toshihiko Suzuki, “Design of Architectural Furniture,” Aidia Journal 8 (2008): 2–7.

Offices 1. Peggy McGuire, “Office Capsule,” Architectural Review, April 2005, 18–19. 2. Porter Anderson, “Scott Adams: Dilbert’s Ultimate Cubicle,” CNN. com, December 11, 2001, http://archives.cnn.com/2001/CAREER/ jobenvy/08/28/dilbert.scott.adams. 3. “Dilbert’s Ultimate Cubicle: Gold, Design Explorations,” Industrial Designers Society of America (IDSA) website, accessed March 15, 2010, http://www.idsa.org/content/content1/dilberts-ultimate-cubicle.

Prefabricated House Interiors 1. Matilda McQuaid, Shigeru Ban (New York: Phaidon, 2003), 168. 2. Riichi Miyake, “Shigeru Ban as an Empiricist,” The Japan Architect no. 30 (1998): 7–8. 3. Andrea Zittel, “Andrea Zittel in Conversation with Allan McCollum,” in Andrea Zittel: Diary no. 1, ed. Simona Vendrame (Milan: Tema Celeste Editions, 2002).

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Select Bibliography Abercrombie, Stanley. George Nelson: The Design of Modern Design. Cambridge, MA: MIT Press, 1995. Abercrombie, Stanley. “Office Supplies: Evolving Furniture for the Evolving Workplace.” In On the Job: Design and the American Office, edited by Donald Albrecht and Chrysanthe B. Broikos, 81–97. New York: Princeton Architectural Press, 2000. Abraham, Yvonne. “The Man behind the Cubicle.” Metropolis 18, no. 3 (1998): 76­–77. Anderson, Porter. “Scott Adams: Dilbert’s Ultimate Cubicle.” CNN, December 11, 2001, accessed May 5, 2010, http://archives.cnn.com/2001/CAREER/ jobenvy/08/28/dilbert.scott.adams. Arieff, Allison, and Bryan Burkhart. Prefab. Layton, UT: Gibbs Smith, 2002. Aronson, Joseph. The Encyclopedia of Furniture. 3rd rev. ed. New York: Clarkson Potter, 1965. Ban, Shigeru. “Shigeru Ban: House of Furniture, Yamanakakomura, Yamanashi. ” GA Houses no. 47 (1995): 56–59. Beecher, Catharine, and Harriet Beecher Stowe. The American Woman’s Home. New York: J. B. Ford, 1869; Hartford, CT: Stowe-Day Foundation, 1975. Beecher, Mary Anne. “Packaged Kitchens: Understanding Prefabricated Manufactured Units as Mid-Century Interiors.” Paper presented at the annual Interior Design Educators Council, Montreal, Canada, March 5–8, 2008. Beecher, Mary Anne. “Promoting the ‘Unit Idea’: Manufactured Kitchen Cabinets (1900–1950).” APT Bulletin 32, no. 2 (2001): 27–37. Bell, Genevieve, and Joseph Kaye. “Designing Technology for Domestic Spaces: A Kitchen Manifesto.” Gastronomica 2, no. 2. Benton, Charlotte. “Le Corbusier: Furniture and the Interior.” Journal of Design History 3, no. 3 (1990): 104–16. Bergdoll, Barry, and Peter Christensen. Home Delivery: Fabricating the Modern Dwelling. New York: Museum of Modern Art, 2008. Berry, John. Herman Miller: Classic Furniture and System Designs for the Working Environment. London: Thames and Hudson, 2005. Beyer, Glenn H. The Cornell Kitchen: Product Design through Research. Ithaca, NY: New York State College of Home Economics in association with Cornell University Housing Research Center, 1953. Blauvelt, Andrew. Strangely Familiar: Design and Everyday Life. Minneapolis, MN: Walker Art Center, 2003. Bouroullec, Erwan et al. Erwan and Ronan Bouroullec. London: Phaidon, 2003. 138

Brown, Azby, and Joseph Cali. The Japanese Dream House: How Technology and Tradition Are Shaping New Home Design. New York: Kodansha International, 2001. Caplan, Ralph. The Design of Herman Miller. New York: Whitney Library of Design, 1976. Coles, Bryony, and John Coles. Sweet Track to Glastonbury: The Somerset Levels in Prehistory. New York: Thames and Hudson, 1986. Cook, Peter, ed. Archigram. New York: Princeton Architectural Press, 1999. Currey, Mason. “Blob Mentality.” Metropolis 28, no. 1 (September 2008): 100. Davies, Colin. The Prefabricated Home. London: Reaktion Books, 2005. Esposi, Lauren. “Taking it on the Road: Kullman embarks on U.S. tour to spread the benefits of bath pods.” Hotel Business (February 2010): 28–30. Favata, Ignazia. Joe Colombo and Italian Design of the Sixties: Commentary and Catalogue. 1st MIT Press ed. Cambridge, MA: MIT Press, 1988. Fetters, Thomas T. The Lustron Home: The History of a Postwar Prefabricated Housing Experiment. Jefferson, NC: McFarland, 2002. Franck, Karen, and R. Bianca Lepori. Architecture from the Inside Out: From the Body, the Senses, the Site, and the Community. Chichester, England: WileyAcademy, 2007. Fuller, R. Buckminster, and Robert Marks. The Dymaxion World of Buckminster Fuller. Carbondale, IL: Southern Illinois University Press, 1960; Garden City, NY: Anchor Books, 1973. Garnitz, Linda. “Projects & People.” Pace Interior Architecture vol. 78 (May 1995): 30–32 . Gerfen, Katie. “Active Phytoremediation Wall System.” Architect Magazine, 98 no. 8 (August 2009): 48–51. Hatch, Alden. Buckminster Fuller: At Home in the Universe. New York: Crown Publishers, 1974. Hayden, Dolores. The Grand Domestic Revolution: A History of Feminist Design for American Homes, Neighborhoods, and Cities. Cambridge, MA: MIT Press, 1981. Henderson, Susan R. “A Revolution in the Woman’s Sphere: Grete Lihotzsky and the Frankfurt Kitchen.” In Architecture and Feminism, edited by Deborah Coleman, Elizabeth Danze, and Carol Henderson, 221–52. New York: Princeton Architectural Press, 1996. Herbers, Jill. Prefab Modern. New York: Harper Design International, 2004.

Select Bibliography

Herbert, Gilbert. The Dream of the Factory-Made House: Walter Gropius and Konrad Wachsmann. Cambridge, MA: MIT Press, 1984. Herbert, Gilbert. “The Portable Colonial Cottage,” Journal of the Society of Architectural Historians 31, no. 4 (1972): 261–75. Hoffman, Megan. “Is a Fashion Show the Place for Social Commentary? Investigating the Spectacle Dressed Up in Ides in Hussein Chalayan’s After Words.” Austrailasian Drama Studies, no. (April 2009): 35–49. Jencks, Charles. Le Corbusier and the Continual Revolution in Architecture. New York: Monacelli Press, 2000. Kieran, Stephen, and James Timberlake. Refabricating Architecture: How Manufacturing Methodologies are Poised to Transform Building Construction. New York: McGraw-Hill, 2004. Kira, Alexander. The Bathroom: Criteria for Design. Ithaca, NY: Center for Housing and Environmental Studies, Cornell University, 1966. Kira, Alexander. The Bathroom. New and expanded ed. New York: Viking Press, 1976. Kirkham, Pat. Charles and Ray Eames: Designers of the Twentieth Century. Cambridge, MA: MIT Press, 1995. Knerr, Douglas. Suburban Steel: The Magnificent Failure of the Lustron Corporation, 1945–1951. Columbus, OH: Ohio State University Press, 2004. Knobel, Lance. Office Furniture: Twentieth-Century Design. London: Unwin Hyman, 1987. Koch, Carl, and Andy Lewis. At Home with Tomorrow. New York: Rinehart, 1958. Lupton, Ellen, and J. Abbott Miller. The Bathroom, the Kitchen, and the Aesthetics of Waste: A Process of Elimination. New York: Kiosk, 1996. Lupton, Ellen. Mechanical Brides: Women and Machines from Home to Office. New York: Cooper-Hewitt National Museum of Design Smithsonian Institution; New York: Princeton Architectural Press, 1993. Lynn, Greg. “Blobwall.” Architectural Design 27, no. 2 (2000): 96–99. McCollough, Helen. “The Kitchen of Tomorrow.” Journal of Home Economics 37, no. 1 (1945): 8–10. McGuire, Peggy. “Office Capsule.” Architectural Review, April 2005, 18–19. McQuaid, Matilda. Shigeru Ban. New York: Phaidon Press Inc., 2007. Miller, Judith. Furniture: World Styles from Classical to Contemporary. New York: Dorling Kindersley Publishing, 2005. 139

Morsiani, Paola, and Trevor Smith. Andrea Zittel: Critical Space. Munich: Prestel, 2005. Nasatir, Judith. “Allan Wexler.” Interior Design 65, no. 7 (1994): 146–47. Nelson, George, and Henry N. Wright. Tomorrow’s House: How to Plan Your Post-War Home Now. New York: Simon and Schuster, 1945. Neuhart, John, Marilyn Neuhart and Ray Eames. Eames Design: The Work of the Office of Charles and Ray Eames. New York: Harry N. Abrams, 1989. Oldenziel, Ruth. “Exporting the American Cold War Kitchen: Challenging Americanization, Technological Transfer, and Domestication.” In Cold War Kitchen: Americanization, Technology, and European Users, ed. Ruth Oldenziel and Karin Zachmann, 315–40. Cambridge, MA: The MIT Press, 2009. Oshima, Ken Tadashi. “Postulating the Potential of Prefab: The Case of Japan.” In Home Delivery: Fabricating the Modern Dwelling, by Barry Bergdoll and Peter Christensen, 32–37. New York: Museum of Modern Art, 2008. Palmer, Alvin E., and M. Susan Lewis. Planning the Office Landscape. New York: McGraw-Hill, 1977. Pankenier, Eva. “Systematic Variations: su 11 designs environments that are catching up with the way we live.” 306090 no. 09 (2002): 9–17. Parr, Joy. “Modern Kitchen, Good Home, Strong Nation.” Technology and Culture 43, no. 4 (2002): 657–67. Picci, Francesca. “Working at the Bar.” Domus no. 853 2002): 110–17. Quinn, Bradly. “A Note: Hussein Chalayan, Fashion and Technology.” Fashion Theory 6, no. 4 (2002): 359– 68, doi: 10.2752/136270402779615325. Ross, Phyllis. “Merchandising the Modern: Gilbert Rohde at Herman Miller.” Journal of Design History 17, no. 4 (2004): 359–76. Rowlands, Penelope. Eileen Gray. Compact Design Portfolio, edited by Marisa Bartolucci and Raul Cabra. San Francisco: Chronicle Books, 2002. Sadler, Simon. Archigram: Architecture without Architecture. Cambridge, MA: MIT Press, 2005. Schneiderman, Deborah. “The Prefabricated Kitchen: Substance and Surface.” Home Cultures 7, no. 3 (2010): 243–62. Schumaker , Rainald. “A-Z Cellular Compartment Units Customized by Sammlung Goetz.” In Andrea Zittel, edited by Sammlung Goetz and Ingvild Goetz, 117–39. Munich: Herausgeber, 2003. Seike, Kiyoshi. The Art of Japanese Joinery. New York: J. Weatherhill, 1977.

Select Bibliography

Image Credits Showalter, Camille and Janice Driesbach. Wooton Patent Desks: A Place for Everything and Everything in its Place. Indianapolis, IN: Indiana State Museum, 1983. Sottsass, Ettore, Jr. “To Nanda, Who Explained Everything to Me.” In Italy: The New Domestic Landscape: Achievements and Problems of Italian Design, edited by Emilio Ambasz, 162–63. New York: Museum of Modern Art, 1972. Stevenson, Katherine Cole, and H. Ward Jandl. Houses by Mail: A Guide to Houses from Sears, Roebuck and Company. Washington, DC: Preservation Press, 1986. Suzuki, Toshihiko. “Design of Architectural Furniture.” Aidia Journal 8 (2008): 1–9. Szenasy, Susan, and Christopher Wilk. “Time Space and the Workplace.” Metropolis 4, no. 5 (1984): 18–19. Takamura, John, Jr., et al. “The Flo Toilet.” INNOVATION Quarterly Journal, Winter 2008, 63. Takamura, John, Jr., et al. “A Transdisciplinary Approach Towards Toilet Design Innovation.” In Unintended Consequences Exhibition Catalog 39–44. Tempe, AZ: Arizona State University Press, 2006. Van der Reyden, Dianne Lee. “Technology and treatment of a folding screen: comparison of oriental and western techniques.” In The Conservation of Far Eastern Art: Preprints of the Contributions to the IIC Kyoto Congress, Kyoto, 19–23 September 1988, ed. John Mills, Perry Smith, and Kazuo Yamasaki, 64– 68. London: International Institute for Conservation of Historic and Artistic Works, 1988. Webb, Michael. George Nelson. Compact Design Portfolio, edited by Marisa Bartolucci and Raul Cabra. San Francisco: Chronicle Books, 2003. Wilk, Christopher and Marcel Breuer. Furniture and Interiors. New York: Museum of Modern Art, 1981. Wolfe, Tom, and Leonard Garfield. “‘A New Standard for Living’: The Lustron House, 1946–1950.” Perspectives in Vernacular Architecture 3 (1989): 51–61. Zeiger, Mimi. “Complete: Laboratories for Living.” In Andrea Zittel, edited by Sammlung Goetz and Ingvild Goetz, 105–15. Munich: Herausgeber, 2003. Zittel, Andrea. “Andrea Zittel in Conversation with Allan McCollum.” In Andrea Zittel: Diary no. 1, edited by Simona Vendrame. Milan, Italy: Tema Celeste Editions, 2002. Zittel, Andrea. “A-Z Cellular Compartment Units.” In More Mobile: Portable Architecture for Today, edited by Jennifer Siegal, 44–51. New York: Princeton Architectural Press, 2008

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Introduction Figure 1: The Illustrated London News, May 1852 Figure 2: Diagrams: after J. C. Loudon, An Encyclopedia of Cottage, Farm and Villa Architecture,, (Longman, Rees, Orme, Brown, Green, & Longman), 1833; advertisement: South Australian Record, 27 Nov 1837 Figure 3: Courtesy the estate of R. Buckminster Fuller Figure 4: Courtesy the estate of R. Buckminster Fuller Figure 5: Life, October 11, 1948 Figure 6: Sears Catalog, 1908, Courtesy of Sears Figure 7: Courtesy Philippe Garner Figure 8: Courtesy Herman Miller, Inc. Figure 9: Courtesy Mio Company, LLC, photo by Robert Hakalski Figure 10: Courtesy Mio Company, LLC, photo by Robert Hakalski Figure 11: Courtesy Bloxes LLC. Figure 12: Courtesy Bloxes LLC. Figure 13: Courtesy Herman Miller, Inc. Figure 14: Courtesy Herman Miller, Inc. Figure 15: Courtesy Herman Miller, Inc. Figure 16: Courtesy Ronan and Erwan Bouroullec Figure 17: By author Figure 18: Harriet Beecher Stowe Center Figure 19: Institut für Stadtgeschichte, Frankfurt am Main, Germany Figure 20: Courtesy of the Division of Rare and Manuscript Collections, Cornell University Figure 21: Courtesy of the Division of Rare and Manuscript Collections, Cornell University Figure 22: Courtesy of the Division of Rare and Manuscript Collections, Cornell University Figure 23: Courtesy of Rhode Island School of Design (RISD) Archives, Fleet Library at RISD Figure 24: Courtesy Herman Miller, Inc. Figure 25: Courtesy Herman Miller, Inc. Figure 26: Courtesy Joe Colombo Studio Figure 27: Courtesy Yasuhiro Yamashita / Atelier Tekuto and photographer Makoto Yoshida Figure 28: Courtesy Henry County Historical Society, Napoleon, Ohio Figure 29: The Popular Science Monthly 6, no. 4, 1875 Figure 30: Courtesy the estate of R. Buckminster Fuller Figure 31: Courtesy Joe Colombo Studio Figure 32: Courtesy Joe Colombo Studio Figure 33: Courtesy Allan Wexler Figure 34: Courtesy Allan Wexler Figure 35: Courtesy Ronan and Erwan Bouroullec and photographer Morgane Le Gall

Interior Walls Flatform Page 28: Courtesy Marble Fairbanks Pages 29 and 30–31: Courtesy Jongseo Kim and Marble Fairbanks Active Phytoremediation Wall Pages 32–35: Courtesy CASE / Center for Architecture Science and Ecology: Rensselaer Polytechnic Institute and Skidmore, Owings & Merrill Blobwall Pages 36–39: Design: Greg Lynn, www.glform.com. Exclusively produced and distributed by: Panelite, www.panelite.us. Robotic cutting technology: Machineous, www.machineous.com.

Image Credits

S3 Sustainable Slotted System Pages 40–41: Courtesy Allyson Speakes, Alicia Rampe, Felicia Chave, Dyelle Fairbanks, Ivet Gesheva, Rachel Israel, Pei-Pei Kao, Linda Miao Li, Carisa Mowry, Leah Schoen, Erin Yi, and Deborah Schneiderman Pages 42–43: Courtesy Allyson Speakes and Alicia Rampe

Office POD Pages 112–15: Courtesy OfficePOD

Prefababricated House Interiors Furniture House Pages 118–21: Courtesy Shigeru Ban Architects Page 121 top: Shigeru Ban Architects and Hiroyuki Hirai, photographer

Kitchens Closet #1, Parsons Kitchen Pages 46–59: Courtesy Allan Wexler

A-Z Cellular Compartment Units

Oma’s Rache Pages 50–53: Courtesy Melanie Olle and Ilja Oelschlägel

Page 122 bottom and 123 top: Photo by Tom Loonan, courtesy Albright Knox Art Gallery, Buffalo, and Andrea Rosen Gallery, New York © Andrea Zittel

Flow2 Pages 54–57: Courtesy Studio Gorm: John Arndt and Wonhee Jeong

Page 123 bottom: Courtesy New Museum of Contemporary Art, New York, and Andrea Rosen Gallery, New York © Andrea Zittel

Page 122 top: Photo by Tom Bisig, courtesy Andrea Rosen Gallery, New York © Andrea Zittel

Pages 124–25: Courtesy Andrea Rosen Gallery, New York © Andrea Zittel Ekokook Pages 58–61: Courtesy Faltazi: Victor Massip and Laurent Lebot

Composite House

Bathrooms

Pages 126–29: Courtesy su11 architecture + design: Erich Schoenenberger and Ferda Kolatan

Cirrus MVR Pages 64–67: Courtesy Crowd Productions: Michael Trudgeon, Anthony Kitchener, Costa Gabriel, John Burne, Glynis Nott, Veronica Saunders The Flo Pages 68–71: Courtesy John Takamura, Jr., Dosun Shin, Tamara Christensen, and Dean Bacalzo Kullman Bathroom PODS Page 73: Courtesy Kullman Co-Pod Pages 76–79: Courtesy colab architects: Gary McLuskey, Steve Penn, and Danijela Cannon

Furniture After Words Pages 83–85: Courtesy Hussein Chalayan 90° Furniture Pages 86–89: Courtesy KapteinBolt: Louwrien Kaptein and Menno Bolt Kenchikukagu Pages 90–93: Courtesy Atelier OPA: Toshihiko Suzuki Playground for Leif Pages 94–97: Created with passion by Designliga

Office Clipper CS–1 Pages 100–103: Courtesy Douglas Ball and Jeff Sokalski Office POD Pages 104–107: Courtesy Ross Coffey, designer and Kyra Webb, photographer Dilbert’s Ultimate Cubicle Pages 108–11: Courtesy IDEO

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Cell Brick House Pages 130–33: Photo by Makoto Yoshida, courtesy Yasuhiro Yamashita/ Atelier Tekuto

Index (images in italics) 90° Furniture, 86, 86–89 1923 Lacquered Block Screen, 12, 13 33, 19 A A-Z Cellular Compartments, 122, 122–25 A-Z East and West, 122 Action Office I and II, 12, 14, 15 Active Phytoremediation Wall, 32, 32–35 Adams, Scott, 108, 108 adaptive re-use, 40 Addition Seating System, 19–21 After Words, 82, 82–85 Allen, Roger, 12 Apartment for a Single Person, 21 Architect magazine, 32 Architectural Forum, 22 Arizona State University, 40, 68 Arndt, John, 54 Asia, 22 Assemblage, 72, 86, 94, 134 Assembly, 8, 22, 28, 54, 82, 134 Associated Fabrication, 126 Atelier OPA, 90 Atelier Tekuto, 20, 130 B Bacalzo, Dean, 68 Ball, Douglas, 100 balloon frame, 15 Bamboo Furniture House, 118 Ban, Shigeru, 19, 118 Bathroom, 8, 134, 11, 22–25, 63–79 bathroom pod, 22, 72 bathtub, 22, 6 bed, 22, 90, 94 bedroom, 23, 24, 94, 104 Beecher, Catherine, 16, 21 Beecher Stowe, Harriet, 16 Beyer, Glenn 19, 18 Birsel, Ayse, 15 Blobwall, 36, 36–39 Bloxes, 12, 14 Bookcase, 19, 118 Bouroullec, Ronan and Erwan, 15, 24 boxed bed, 22 Breuer, Marcel, 8, 19 Design Museum, London, 100 built-in, 9, 19, 21, 58 Bürolandschaft, 12 C Cabin, 8 Cabinet, 9, 16, 19, 21, 22, 50, 58, 90, 104, 118, 122, 130, 134 Call + Response exhibit, Museum of Contemporary Craft, Portland, Oregon, 2009, 54 Cannon, Danijela, 76

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Cape Ann, Massachusetts, 8 Cardboard, 12 Carte Blanche, 58 CASE/Center for Architecture Science and Ecology, 32 Casier Standard, 19 Ceiling, 36, 72, 94, 112, 126, Cell Brick House 2, 130, 130–34 cereal box, 40 chair, 19, 21, 50, 82, 90, 100 Chalayan, Hussein, 82 Chipboard, 40 Christensen, Tamara, 68 Clipper CS-1, 100, 100–104 Closet #1, Parsons Kitchen, 21–22, 46, 46–49 Closet architecture, 46 Closet 9, 46, 118 CNC (computer numerically controlled), 28 colab architects, 76 co-POD, 76, 76–79 coffee table, 82 Coffey, Ross, 104 Colombo, Joe, 19–22 compact kitchen, 50 compartments, 58, 122 components, 6, 8, 11, 12, 19, 28, 134 Composite House, 126, 126–29 Composting, 54, 58 Construction, 6, 8, 11, 12, 15, 19, 21, 25, 46, 72, 76, 94, 112, 118, 130, 134 Container, 11, 19, 21, 22, 23, 58 container gardening, 58 cook, 21, 50, 54, 58, 86, 90 Cook, Peter, 22 Cornell Kitchen, 19, 18 Cornell University’s Housing Research Center, 18 Crate House, 23, 46, 24 Crystal Palace, 8 Cubicle, 12, 15, 25, 108 curtain wall, 15 D Designliga, 94 Desk, 19, 21, 90, 94, 108 de Stijl, 12 digital fabrication, 28 Dilbert’s Ultimate Cubicle, 108, 108–111 Divider, 2, 15, 32 DIY, 40 Ductwork, 32 Durst, Fred, 108 Dymaxion, 10, 22, 23, 25, 72, 76, 134 Dymaxion Bathroom, 22, 25, 72, 76 E E. 1027, 12 Eames, Charles and Ray, 12, 19, 25 Eames Storage Unit (ESUs), 19, 20, 134 Ekokook, 59, 58–61

Electrical, 15, 58, 64, 76, 90 environmentally sustainable, 11, 32 ergonomics, 19, 22, 100 Ettore Sottsass, Jr, 23 evapo-transpiration, 54 F Faltazi, 58 Fashion, 36, 82 Fertilizer, 54 First Penthouse, 16 flat-packed, 28, 40, 86 Flatform, 28, 28–31 Flow2, 54, 54–57 Flow and the kitchen of terrestrial mechanics, 54 Foldaway Guestroom, 90, 90–93 Foldaway Office, 90, 90–93 Frankfurt Kitchen, 16, 17 Frederick, Christine, 16, 21 Fuller, R. Buckminster, 8, 22, 134 Furniture, 8, 11, 12, 15, 16, 19, 21, 22, 23, 25, 50, 81–97, 112, 118, 122, 126, 130, 134 Furniture House, 19, 118, 118–21, 130 G Garden, 54, 58 German Building Exhibition, Berlin, Germany, 1931, 21 Gilbreth, Lillian, 16 Goetz, Sammlung, 122 Goldberg, Bertrand, 22, 76 Grandma’s Revenge, 21, 50, 50–53 Gray, Eileen, 12 Gray-water, 58, 64 green design, 25 Greg Lynn FORM, 36 Gropius, Walter, 8, 12, 25, 134 gypsum board, 11 H hardware, 12, 28 heat, 1, 16, 76, 130 Heiner, Mary Koll, 19 Herman Miller Company, 12, 15, 19 Home Delivery: Fabricating the Modern Dwelling exhibit, Museum of Modern Art, New York, 2008, 28 Homestead Unit, 122 Hoosier Kitchen Cabinet, 20, 21, 46, 50 HVAC system, 32 I IDEO, 108 indoor air quality, 32 installation, 8, 28, 32 Interbuild, 76 Interior Design Excellence Award (IDEA), 104 Interior Sleeve, 126 Italy: The New Domestic Landscape exhibit, Museum of Modern Art, New York, 1972, 23

Index

J Japan, 11–12, 15, 90, 118, 130 Jeanerette, Pierre, 19 Jeong, Wonhee, 54 Joyn, 14, 15 K Kalkin, Adam, 11 Kaptein, Louwrien, 86 KapteinBolt, 86 Kauffmann, Michelle, 11 Kenchikukagu, 90, 90–93 KieranTimberlake, 11 kit of parts, 108 kitchen, 8, 11, 16–19, 21–23, 25, 45–61 kitchen furniture, 21, 50 Kitchener, Anthony, 64 Kiwari jutsu, 15 Knoll Planning Unit, 21 Kolatan, Ferda, 126 Kullman, 72, 72–75 K_Residence, 126, 129 L Larkin Building, 21 Lavatory, 22 Lebot, Laurent, 58 Le Corbusier, 8, 19, 22, 25, 86 Lighting, 22, 76, 112, 134 Lightweight, 12, 15, 40 lit clos, 22, 25, 90 Lit Clos, 24, 25 living kitchen, 54 Living Machines, 22 Living Units, 122 low-density polyethylene, 36 luggage, 21, 82 Lustron House, 9, 10, 11, 19, 134 Lynn, Greg, 36 M Machineous, 36 Maison Domino, 25 Manning Portable Cottage, 8, 9 Mantle, 11, 19 Marble Fairbanks, 28 mass-customize, 15, 19, 28, 76, 134 mass-produced, 8, 9, 19, 36, 46 Massip, Victor, 58 Max kitchen, 19 McLuskey, Gary, 76 medium-density fiberboard (MDF), 86 Meyer, Erna, 21 Michel, Klaus, 50 micro-processing plants, 58 Minikitchen, 21 Min kitchen, 19 Mio, 12 Mobile, 21, 23, 64, 90, 104 Mobile Kitchen, 90

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Mobile Plug-In Bathroom, 64 Modular, 6, 8, 9, 11, 12, 15–21, 25, 32, 36, 40, 72, 82, 86, 94, 108, 122, 130, 134 modular furniture, 19–21, 25, 130, 134 modular home, 9 module, 8, 11, 12, 15–21, 22, 25, 32, 36, 94, 108, 118, 130, 134 Museum of Modern Art, New York, 23, 28 N Nelson, George, 12, 19, 25 Nomad, 12, 13 O Oelschlägel, Ilja, 21, 30 off-site, 8, 11, 15, 16, 19, 25, 28, 58, 72, 76, 112, 118, 134 office, 11, 12–15, 16, 21, 25, 90–93, 99–115, 134 office landscape, 12 OfficePOD, 21, 112, 112–15 Office POD, 104, 104–107 office secretary, 21 Olle, Melanie, 21, 50 open plan, 19, 25 Out-of-Box Workstation, 21 P Packaged House, 134 packaged kitchen, 16, 25, 54, 58, 134 panel, 8, 9, 11, 15, 19, 21, 28, 50, 86, 130 Panelite, 36 Panelized, 8, 25 Parsons Kitchen, 21–22, 46, 46–49 Parsons The New School for Design, 21, 46 Partition, 11, 12, 15, 40, 108 Penn, Steve, 76 Perriand, Charlotte, 19, 22 place-making, 12, 118, 134 Planet, 3, 21 Plants, 32, 58 Playground for Leif, 94, 94–97 plug-in, 22, 64 plumbing, 64, 72 pod, 8, 21, 22, 32, 72, 76, 104, 112 porcelain-enameled steel, 9–11 Portable Pantry, 21, 46, 50 prefabricated interior design, 8, 11–23 Probst, Robert, 12–15 Prototype, 36, 100, 108, 122, 126 Q Quickborner Team, 12 Quik House, 11 R Raskin, Aza, 12 Raugh Furniture, 122 Recycling, 58, 64 Reese Bathroom Innovation Award, 64 Refrigeration, 21, 50

Refrigerator, 19, 54, 58 Reich, Lilly, 21 Rensselaer Polytechnic Institute, 32 Repurpose, 11, 72 Resolve, 14, 15 Reusable, 40 Rietveld, Gerrit, 12 Rhode Island School of Design, 19 Roof, 9, 16, 126 rue Chateaubriand, apartment, 12 S S3 Sustainable Slotted System, 40, 40–43 Salm, Jaime, 12 Schneiderman, Deborah, 40 Schoenenberger, Erich, 126 Schröder House, 12 Schütte-Lihotzky, Margarete (Grete), 17 Southern California Institute of Architecture (SCI-Arc), 36 Screen, 11–15, 25, 86, 100, 104, 135 Sears, Roebuck and Company, 9, 19 Sears kit homes, 11, 10 Seatrain Residence, 11 Siegal, Jennifer, 11 self-supporting, 19, 134 shelves, 19, 22, 108, 130 Shin, Dosun, 68 Shoji, 11–12, 15 Shower, 22, 64, 76, 126 ShowHouse, 11 Sink, 16, 19, 22, 34, 64, 68, 90, 118, 126 Sink and cooking form, 16, 17 Structurally Insulated Panels (SIPS), 15 site-built, 25 site-specific, 8 sliding wall, 12 Sokalski, Jeff, 100 Skidmore, Owings & Merrill (SOM), 12, 32 Somerset, England, 8 stainless steel, 64, 86, 100, 122 staircase, 8, 11, 76, 116 Stanojcic, Sasa, 94 Storage, 16, 19, 21, 22, 46, 50, 54, 58, 86, 94, 104, 112, 126, 130, 134 storage crate, 46 Storagewall, 19 Structural, 6, 15, 16, 19, 25, 118, 130, 134 Strandlund, Car,l 9 Studio Gorm, 54 su11 architecture + design, 11, 126 suitcase, 82, 85 sustainable, 8, 11, 12, 15, 25, 32, 40, 54, 58, 72, 76 Suzuki, Toshihiko, 90 Sweet Track, 8 T 12 Container House, 11 table, 15, 22, 50, 82, 100

Index

Takamura, John Jr., 68 The White Kitchen Compact, 16–19 The Flo, 54, 54–57 The Museum of Contemporary Craft, Portland, Oregon, 54 Toilet, 22, 64, 68, 76 Total Furniture Unit, 23 24 Transportability, 90 Trudgeon, Michael, 64 Tube Chair, 19–21, 20 U Undulating Plywood Folding Screen, 12, 13 Unit, 9, 11, 13, 16, 19, 21–25, 64, 76, 86, 90, 100, 104, 112, 118, 122, 126, 134, 135 unit kitchen, 21–22, 46, 50, 116 Universal Kitchen, 18, 19 University of Art and Design in Halle, Germany, 50 Upholstered, 21 User, 19, 21, 28, 40, 68, 72, 86, 94, 100, 108, 112, 122, 134 V Velcro, 28 Venice Biennale, 36 Ventilation, 16, 22, 76, 100, 122, 134 Vernacular, 9 Vitra, 15 void masonry, 130 volatile organic compounds, 32 W Wachsmann, Konrad, 8, 134 Wagon Units, 122 Wall, 6, 8, 11–12, 15, 19, 21, 25, 28, 32, 36, 40, 46, 64, 72, 94, 104, 112, 126 Wardrobe, 21, 50, 94 Waste, 8, 25, 54, 58, 104, 118 Water, 16, 22, 54, 58, 64, 68 Wexler, Allan, 21, 23, 46, 46 White, Charles C., 16–19 Wilson, Andrew, 12 Wilson Art, 46 window covering, 12 Wooton Patent Cabinet Office Secretary, 21, 23, 46, 90 Workstation, 15, 21, 46, 100, 104 Wright, Frank Lloyd, 8, 12, 21 Y Yamashita, Yasuhiro, 21, 130 Z Zittel, Andrea, 122

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