Move one island to the left.

Kurokawa regarded the city as an organic process and its residents as urban nomads. The architect created two interconnected towers, to which 144 prefabricated live/work capsules were clipped. The individual capsules had completely standardised and built-in furnishings, and were replaceable.

Move one island to the left.

Verner Panton understood interior design as an exercise in three dimensions like almost no other designer: from the floor and walls to the ceiling. Instrumental to this holistic spatial understanding was Panton’s atmospheric use of colour and light.

This is the big sculpture in the middle.

The Fantasy Landscape broke with all traditional ideas of interior design: floors, walls, ceilings, and furniture seemingly formed into one organic unit. It was made for the Cologne Furniture Fair, where the chemical corporation Bayer rented an excursion boat that was transformed by well-known designers into a temporary exhibition space on the subject of contemporary living.

Go downstairs, this project is on your far right.

In the twentieth century, new technologies and material innovations often inspired ideas for the homes of the future. The House of the Future went on view in London at the Daily Mail Ideal Home Exhibition in 1956. Exhibition visitors could see into the interior from an elevated gallery, where they watched actors in futuristic costumes demonstrating all sorts of technical refinements.

This project is diagonally opposite, next to the stairs.

The history of the domestic interior can also be a matter of politics: During the Kitchen Debate Nixon and debated the merits of their respective social systems in a kitchen at the American National Exhibition in Moscow. In an attempt to convince his Soviet counterpart of the superiority of capitalism over communism, the American vice president presented a fully fitted kitchen equipped with electrical devices.

Turn around for this interior.

The pioneers of modernity viewed the modern interior as a liberation from the chore of housework. But modern design can become the opposite when representation is more important than functionality. No one has demonstrated this more drastically and humorously than filmmaker Jacques Tati. His film Mon Oncle is filmed in Villa Arpel, a villa fully equipped with all the latest modern gadgets, with all its consequences.

Move to the corner, under the stairs.

The opening up of the interior to nature characterised the 1950s and ’60s. A good example is Bo Bardi’s Casa de Vidro in Brazil. Her early sketches envisioned the interior as a wide, open space encompassing loosely arranged furniture, sculptures, and paintings, all framed by nature.

On the left of the previous interior.

The architect Finn Juhl placed particular importance on the interplay of furniture and art, which you can see in his own house in Denmark, over the years, Juhl repeatedly changed the furniture, testing out his designs within the spatial structure of his own four walls.

Turn around and walk diagonally across the room.

In 1949 Bernhard Rudofsky designed a residential garden for sculptor Constantino Nivola. The cubic room open only at the top, could be accessed from above via a staircase and formed a framework for observing the sky.

The one with the big sideboard.

The experience of space while in motion was a central concern of the Viennese architect Josef Frank. His Villa Beer appears closed towards the street but opens up to the garden. Textiles played an important role in Villa Beer. According to Frank, monochrome surfaces created unrest, while patterns created calm.