(D) Shuttling between Germany and the United States, Dagmar Richter keeps up his teaching career amongst other places, at UCLA Los Angeles. In this era of webcams and reality shows, the house, for Dagmar Richter, no longer precludes the private place. Right now it is the exterior world itself which represents the house (as is shown by the television and leisure world). The urban space is likewise filled with private and household experiences, by way of the car, the airplane, the telephone, etc. It is the whole city that has been domesticated like the house. The whole world has itself become our home. So the plan of the home has managed to become flexible, a veritable free and open plan, as people dreamed of it in the 1960s, because, for Dagmar Richter, housing has freed itself from its everyday function and performance and from its historical role as shelter. The project shown here is an interweave of strips of space, where interior and exterior communicate, and where façade, walls, doors and windows have merged. Housing has become a dynamic envelope which always seems on the point of being sloughed. Its actual form, which conjures up a malignant efflorescence, or an organ, seems to be the metaphor, no longer of the functions of the home but of its "lifestyle", which is forever different: a place of sojourn, a place of leisure, a place of exchange, etc.

Dagmar Richter
Richter (Dagmar) (1955)
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• domesticity 2000