From the Archive—

Advertising in Italy, 1941-1943—

Olivetti advertising director Renato Zveteremich's Domus column revealed the motivations, aspirations and issues of 20th century Italian graphic design. From the archive

Superstudio: projects and thoughts—

In a 1969 article written for Domus, the Italian radical architecture group first expand on their principles. From the archive

Kengiro Azuma as seen by Luciano Bianciardi—

A vivid portrait of the Japanese artist in Milan in the early 1960s written by the brilliant hand of an Italian intellectual. From the archive

Bernard Rudofsky: notes from a trip to the Orient—

In 1959, the Viennese transplant to America anticipated some reflections on spontaneous architecture that would find fulfillment years later with the publication of Architecture without architects. From the archive

Ettore Sottsass: furniture 1965—

The waggish designer discusses his "trivial" work in search of expressive new forms and dynamics. From the archive

The Lightning Field, Walter De Maria—

Commissioned by the DIA Foundation in the 70s, this Land Art project in a remote area of the high desert of western New Mexico must be seen for at least twenty-four hours, so as to allow participation in all of the natural incidents and incidences, from dawn to sunset. From the archive

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From the Archive—

Olivetti advertising director Renato Zveteremich's Domus column revealed the motivations, aspirations and issues of 20th century Italian graphic design. From the archive

In a 1969 article written for Domus, the Italian radical architecture group first expand on their principles. From the archive

Part two of our conversation with architect Minoru Takeyama, exploring the ineffable rules underlying architecture in Japan. An architecture report from Tokyo by Roberto Zancan

A conversation with Minoru Takeyama, author of two iconic buildings that characterize the Japanese capital's skyline: the Niban-kan and the Ichiban-Kan. An architecture report from Tokyo by Roberto Zancan

Completed in 1955 by the Swiss master in the Rezé suburb, the Unité d'abitation in Nantes perfected the first experience in Marseille. From the archive

A vivid portrait of the Japanese artist in Milan in the early 1960s written by the brilliant hand of an Italian intellectual. From the archive

Released in 1968 by Giovanetti, this visionary mod seating system can now only be found at international auctions for high figures. From the archive

An interior design by Carlo Mollino from 1938 was defined at the time as largely decorative and elegantly self-indulgent. From the archive

Published in Domus in 1973, the nearly complete Twin Towers seemed "out of scale" even in the context of Manhattan. From the archive

'The house of a VIP designer' was the original title of this article introducing his apartment 'manifesto' in 1971. From the archive

In 1969, Olivetti launched a fiery red portable typewriter which quickly became so iconic that it was already part of MoMA's permanent collection by 1971. From the archive

Designs by Germana Marucelli with prints by artist Getulio Alviani. From the archive

In 1959, the Viennese transplant to America anticipated some reflections on spontaneous architecture that would find fulfillment years later with the publication of Architecture without architects. From the archive

An account the Japanese architect wrote soon after he finished the stadiums for the 1964 Olympic Games. From the archive

On the final leg of a round-the-world trip in 1967, Charles Eames visited and photographed the site of Jørn Utzon's pre-legendary project. From the archive

In the early 1970s, the avant-garde architectural group designed a series of conceptual furniture based on gridded histograms. From the archive

The first images of the 1967 Montreal Expo were published in Domus in January of the same year, when the pavilions were still under construction. From the archive

The extraordinary piece of high carpentry Wirkkala realised in 1967 for the Scandinavian Pavilion. From the archive

The waggish designer discusses his "trivial" work in search of expressive new forms and dynamics. From the archive

Commissioned by the DIA Foundation in the 70s, this Land Art project in a remote area of the high desert of western New Mexico must be seen for at least twenty-four hours, so as to allow participation in all of the natural incidents and incidences, from dawn to sunset. From the archive

In 1969 Domus devoted the cover of the July issue to emerging visions of mobile-housing, an ideal with elements both utopian and pragmatic. From the archive