Interiors

Blow Up My Town

Blow Up My Town is a 13-minute Belgian short film directed by and starring Chantal Akerman, released in 1968. Filmed in French in a single domestic interior with no edits or soundtrack, it follows a solitary woman performing mundane kitchen tasks before an off-screen explosion ends the film. It belongs to Akerman’s early structuralist period, sharing concerns with time, repetition, and the charged ordinariness of domestic space. Though obscure and formally austere, it functions as a precise calibration of attention — less a story than a sustained observation of how routine holds latent force.

Midnight

Midnight (1939), directed by Mitchell Leisen and written by Charles Brackett and Billy Wilder, follows American showgirl Eve Peabody as she impersonates a baroness in Paris to escape poverty — only to become entangled in a wealthy couple’s marital crisis. Anchored by Claudette Colbert’s precise physical comedy and Charles Lang’s softly lit cinematography, the film balances screwball energy with studio-era sophistication. Though its final act retreats from its sharpest ideas into convention, its craftsmanship, timing, and thematic clarity make it a durable, pleasurable artefact of Golden Age Hollywood.

Ornamental Hairpin

Set entirely at a remote Japanese hot-spring resort in 1941, Ornamental Hairpin follows a group of guests — a soldier, a geisha, two boys, a professor, an old man — whose intersecting stays are extended by a single lost hairpin. Directed by Hiroshi Shimizu and starring Kinuyo Tanaka, it is a quiet, observational drama that finds emotional weight in routine, restraint, and unspoken connection, refusing both wartime urgency and narrative resolution.

Repulsion

Roman Polanski’s 1965 psychological horror follows Carol Ledoux, a withdrawn Belgian manicurist in London, as she descends into acute dissociation while left alone in her sister’s flat. Shot in black and white on a modest budget, the film uses tight framing, amplified diegetic sound, and meticulous pacing to replicate the texture of perceptual collapse — cracks in walls, hands emerging from plaster, time stretching and warping. Catherine Deneuve’s restrained performance anchors a film that refuses exposition, causality, or resolution. It is a study in claustrophobia, not of space alone, but of consciousness under pressure.

The Bitter Tears of Petra von Kant

Rainer Werner Fassbinder’s 1972 chamber drama confines itself to one Bremen apartment, tracing the rise and collapse of fashion designer Petra von Kant’s obsessive relationship with younger woman Karin Thimm. With an all-female cast and static, theatrical staging, it uses repetition, framing and silence to dissect codependency, class, and the violence of care — not as psychology, but as architecture.

The Touch

Ingmar Bergman’s 1971 English-language debut follows Karin, a Swedish housewife whose affair with an American archaeologist unravels her assumptions about duty, desire, and selfhood. Shot on Gotland with Sven Nykvist, it privileges psychological nuance over plot, using restraint and silence to trace a woman’s slow, uncertain reclamation of agency. Though criticised at release for stiffness and imbalance, it remains a rare, transparent record of Bergman adapting his methods to new language, cast, and expectation.

Vanya on 42nd Street

Louis Malle’s final film documents Andre Gregory’s long-term workshop on Chekhov’s Uncle Vanya, shot in the derelict New Amsterdam Theatre with Wallace Shawn, Julianne Moore, and others. It preserves the rhythms of rehearsal — interruption, repetition, uncertainty — rather than staging a polished performance. Declan Quinn’s restrained cinematography and Joshua Redman’s sparse saxophone score support a film that values duration, silence, and the physical reality of a decaying space over narrative propulsion or dramatic resolution.

Barton Fink

Barton Fink (1991) is a neo-noir arthouse thriller set in 1941, following a New York playwright’s unsettling stay at the decaying Hotel Earle while writing for a Hollywood studio. Directed by Joel and Ethan Coen, it stars John Turturro and John Goodman, with cinematography by Roger Deakins and music by Carter Burwell. Its power lies in sustained atmosphere, recursive imagery, and psychological compression — less a narrative than a meticulously constructed state of mind.

Egg (chair)

The Egg chair is a tightly constrained response to the SAS Royal Hotel commission: a sculptural, isolating seat made possible by new materials. Its couch variant reveals the cost of scaling that logic — a visible seam, limited production, and unresolved tension between form and upholstery. It belongs to design/furniture and design/interiors. Topics include furniture, industrial-design, and interiors.

Enric Miralles

Gianfranco Frattini

Swan (chair)

Arne Jacobsen designed the Swan lounge chair and sofa for Copenhagen's SAS Royal Hotel in 1958. The chair combines an upholstered body with a star-shaped satin-polished aluminium base.

TeamLab (art collective)

Willow Tearooms

Alvar Aalto

Andrée Putman

The Sims (video game)

The Sims is a social simulation video game developed by Maxis and published by Electronic Arts in 2000. Designed by Will Wright, it allows players to create and control virtual people called Sims, build and furnish homes, and manage Sims' needs, relationships, careers, and household finances. Its open-ended gameplay has no fixed win condition. The Sims is an artificial life game built around simulated characters who respond to needs, objects, and other Sims. Although Sims can act autonomously when free will is enabled, the player usually directs their actions, manages their household, and decides how they develop relationships, skills, careers, and homes. Because the game has no fixed win condition, it can be played indefinitely and has been described as more like a toy than a traditional game. Sims are influenced by the player to interact with objects or other Sims. If enabled in the game's options, Sims have a certain amount of free will, allowing them to autonomously interact with their world; however, the player can override most of these autonomous actions by canceling them in the action queue at the top of the screen.

The Sims 4

The Sims 4 is a social simulation game developed by Maxis and released in September 2014. It has no primary objectives or storyline. Players create Sims using Create-a-Sim, build homes in Build mode, and manage six depleting needs—hunger, bladder, hygiene, social, fun, and energy—through interactions with objects. Careers generate income, but advancement depends on developing linked skills. Aspirations and dynamic wants and fears provide optional goal-oriented structure. The game is open-ended and almost endless.

IEEE 802.11

IEEE 802.11 is the foundational WLAN standard family. It defines MAC and PHY protocols for wireless local area networking. It uses CSMA/CA for channel access. It supports multiple bands and modulation schemes. It enables interoperability with Ethernet and IP. It was first released in 1997. Amendments extend functionality without replacing the base.

Lanvin

Kenzō

Kenzō Takada’s Kenzō label began in 1970 as a resource-constrained experiment in Paris—using flea-market space, Saint Pierre market fabrics, and Rousseau-inspired interiors. It re-energised ready-to-wear with colour and volume, launching the 'Big Look' in 1973–74. Its methods were specific, local, and materially grounded—not symbolic or national. It reached New York and Tokyo by 1971, but never claimed to represent Japan. Its legacy is procedural: how to build influence without infrastructure.