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Margherita Marri

@doramarkus_

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Arch @captcha.eu| Mischief @superattico__| P.H. @possibility_of_an_island | PhD C. Artificial Paradise [endocrin architecture]@polimi

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SISTERHOOD FLIPPING THE POSTCARD @captcha.eu [@jacoporosajacoporosajacoporosa ~with @veronica_arnoldi] @alessia_snd

Forget the façade.
Draw the section.

Forget the picture.
Rewrite the plan.

Flip the glossy lie.
Read the back.

No more smiling surfaces.
No more curated harmony.

Cut it open.
Expose the structure.
Redistribute the space.

Not here to look good.
Here to redesign the system by @doramarkus_

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8 months ago

U.G.O UNKNOWN GROUNDING OBJECT
Captcha Architecture @captcha.eu

Photography by Veronica Arnoldi @veronica_arnoldi

CONTRIBUTION TO THE EPHEMERAL AGENTS BOOK

Ephemeral Agents is a programme developed by @concentricofestival x DISTIGMO
and co-directed by Javier Peña—Ibáñez and
Gregory Tsantilas

The book is the third act of the programme.

ACT 01 — Ephemeral Agents Symposium / Exhibition
Zurich, 2025

ACT 02 — Ephemeral Agents Summer School
Logroño, 2026

ACT 03 — Ephemeral Agents Book
DISTIGMO, 2027

The book brings together 70 contributions
from more than 100 authors:
-20 Articles
-7 contributions from Symposium Speakers
-43 contributions from Exhibition Participants

The publication frames and expands the discussions of the symposium around the relationship between ephemeral interventions and their potential for long-term effects.

Publisher:
DISTIGMO @distigmo

Editors:
Alessia Bertini @alessia_snd
Steffen Hägele @steffenhagele
Javier Peña–Ibáñez @jpenaibanez
Gregory Tsantilas @gtsantilas

Design:
Jahn Koutrios @jahnkoutrios

Supported by agps, atelierburkhaltersumi taken in Italy by @doramarkus_

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5 days ago

by @doramarkus_

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6 days ago

72 ore d’archivio, with the one and only @efiumi and @_luigi_savio_ cooking something per l’autunno.

Photo e molto altro, ovviamente
@veronica_arnoldi by @doramarkus_

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3 months ago

Ciao, Massimo.

Con te se ne va un avamposto: la scatola delle meraviglie dell’adolescenza; il rifugio di chi sotto i portici di Piazza Dante ci torna adulto e spossessato, vagando per le vie del centro la sera di Natale. by @doramarkus_

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a month ago

buio, cammina con me by @doramarkus_

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16 days ago

Quanta Grazia. Ciao estate, ciao nonna. by @doramarkus_

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2 months ago

Buone Vacanze. G8 2001-G7 2024. by @doramarkus_

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3 months ago

Finally published.

Written in 2024, this essay argues that the Mediterranean pine forest is not a natural landscape but an architecture of the plantation: the outcome of a historical process in which colonial and military infrastructures of extraction were gradually transformed into infrastructures of leisure.

In other words, the vacation did not replace the plantation—it inherited its spatial logic.

The essay is included in Per una Nuova Casa Italiana. Permanenza e temporaneità dell’abitare mediterraneo.

Full article available at the link in bio. by @doramarkus_

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3 months ago

Finally published.

Written in 2024, this essay argues that the Mediterranean pine forest is not a natural landscape but an architecture of the plantation: the outcome of a historical process in which colonial and military infrastructures of extraction were gradually transformed into infrastructures of leisure.

In other words, the vacation did not replace the plantation—it inherited its spatial logic.

The essay is included in Per una Nuova Casa Italiana. Permanenza e temporaneità dell’abitare mediterraneo.

Full article available at the link in bio. by @doramarkus_

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3 months ago

Ordinary Fiction: Inquiry on he genesis of domestic mythologies

Alessia Bertini, Margherita Marri

Teaching Assistant: Veronica Arnoldi

For decades, the detached house has been a symbol of security and success, offering a tangible way to store family wealth and providing a private heaven. The bigger project of living emerged pushing forward the equation wealth=independance and these ideals gradually encouraged towards atomization of society and the elimination of any form of aggregation, except for the collective rituals embedded in consumption. In changing environemental, social and economical conditions, symbols of belonging are called to be questioned.

Taking as a case study a middle-class single-family house located in the village of Lommel, Belgium, the exercise proposed to the students is to retrofit this culturally outdated and economically unsustainable heritage by acting upon — and reconfiguring three surfaces of its envelope.

The exercise employs two parallel tools: the critical video and the model. The first follows the principle of operative détournement; the second materializes it through design at scale.

I. The front yard is reconceived from a symbol of order and privatized display into a transparent, transformable enclosure where spontaneous vegetation and public signs coexist, redefining it as a mutable interface between domestic interior and collective space.

II. The roof is opened to introduce light and generate a rentable sub-unit that addresses economic precarity, while the addition of a publicly oriented terrace disrupts suburban enclosure and reclaims a shared right to the horizon.

III. The backyard is transformed through excavation into a light-filled, semi-collective infrastructure that converts the private garden and basement from spaces of accumulation and isolation into an ecological and social commons.

IDW Antwerp 2026

Images: 1. Final Exhibition Setting 2. Film still from Ideal Home Exhibition (1960) 3. Stephen McCoy, Proximity ( 1980 - 1984) 4.Process Sketches 5. Workshop Brief 6–9. Film stills from student projects by @doramarkus_

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7 months ago

In a 2022 essay on domesticity and Platform capitalism(social media, sharing economy, etc), I argued that the platform capitalism was producing a new spatial figure: the bedroom-workshop. A hybrid between the influencer set, the small-business warehouse, and the medieval bottega, where production, self-representation, commerce, and everyday life collapse into a single environment.

Four years later, in 2026, a thirteen-year-old client asked me to design not simply a bedroom, but an alcove bed. A room within the room.

At first glance this might appear as a stylistic trend. Yet the recurrence of alcoves, niches, capsules and enclosed beds among teenagers suggests a deeper spatial condition.

Throughout the history of domestic interiors, spaces nested within other spaces have repeatedly emerged as devices of protection, concentration and withdrawal. Alcoves, baldachins, studies and private chambers constructed what could be described as an “interior within the interior”: a protected environment inside a larger one (Forino 2001).

If in medieval and aristocratic architectures these devices often concentrated privacy, status and power, today they seem to respond to a different condition.

The generation raised inside platforms inherits a bedroom that is no longer simply a place for sleeping. It is simultaneously a television studio, a workplace, a logistics hub, a social interface and a permanent stage.

The paradox is that the most intimate room of the house has become its most exposed.

Perhaps the contemporary alcove emerges precisely at this moment. After the bedroom has been transformed into a media infrastructure, a new threshold appears inside it. A refuge within the refuge. An interior within the interior.

Not a machine of representation, but a technology of shielding.

The question is not why teenagers want alcove beds.

The question is what kind of historical condition makes it necessary to build a shelter inside one’s own bedroom. by @doramarkus_

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4 months ago