Domus: 100

The pages of this volume were filled with the works of architects who would become titans of design. Readers were introduced to the works of , Luigi Figini , and **Gino Pollini

Not surprisingly, the list is heavy with Italian masterpieces. The by Gio Ponti (1957) rightfully claims a top spot. Its "ultralight" nature—it can be lifted with one finger—represents the Italian obsession with structural elegance. Alongside it sits the LC4 Chaise Longue by Le Corbusier, Pierre Jeanneret, and Charlotte Perriand (1928), a machine for rest that launched the very year Domus began. domus 100

Early issues of Domus showcased the Italian Rationalist movement of Gruppo 7. The aesthetic was white walls, clean lines, and a rejection of ornament. Domus 100’s retrospectives highlighted how these issues educated a middle-class Italy hungry for modernization. The pages of this volume were filled with

The Domus 100 modules can be paired with various front plates to match specific décor: Young 44 Plates Its "ultralight" nature—it can be lifted with one

While exact bibliographic records vary on the specific month designation of "Issue 100" due to the magazine's volume numbering system, the issues from this specific volume period are distinctive for three key elements: