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Courtesy of El Croquis, number 173, a monograph on, is the third monograph produced by the publisher on this office established in Rotterdam. The current publication collects 's most significant works from 2003 to the present −presented in full with several construction plans, and a profusion of photographs and sketches.

The monograph is prefaced by an interview with MVRDV by the architects Charles Bessard and Nanne de Ru, and a critical essay on their work by Aaron Betsky. Among the buildings and projects featured the most remarkable ones are the Gemini Residences,,,,,.

2003 – House in a Plum Grove – Kazuyo Sejima A young couple with two children and a grandmother chose Kazyuo Sejima to be their architect. They valued her for being the author of works of architecture that was “light, clean and white, no bravado at all,” qualities that they thought would help to find the right tension between the privacy found in a dwelling and the public character of a house in a garden. “A shelter for the mind” and “a place to enjoy the blossoming plum trees in the garden”; these were the family’s wishes when they commissioned the house. The site was only 92.30 m2 where beautiful plum trees and wild flowers grew, which made it look like a real garden inside this residential area. For a long time the couple had wanted to build their own house, a neutral house like a blank canvas with nothing to distract their way of living or raising their children. They rejected the idea that a house should represent economic power and attract attention. When Sejima first asked Miyako what kind of a house they wanted, she told her: ‘Something like a temporary perch’.

The architect’s interest arose immediately. In the case of Sejima, observing people’s lifestyles, she questioned the validity of a conventional dwelling that consisted of a set number of bedrooms, a living room, a dining room and a kitchen. Fixed concepts were no longer valid in a rapidly changing society. The house appears as a white closed cube as it is located in one of the corners of the site. The door is fused with the wall, the doormat and a small cantilever being the only signs of its presence. Furthermore, instead of conventional windows, a few flat, square cuts are made on the exterior walls, without any seeming order.

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The logic comes from the inside. Refusing to create stereotyped rooms with a collection of arranged furniture, Kazuyo Sejima proposed to reduce each room to particular furniture or an action. For instance, the bedroom of the children is composed of one room-bed and a room-table. In that way, 17 different rooms were created, which together were arranged on a 77.68 m2 floor area and distributed on two floors with the tearoom on the roof. Having such a small surface, it was used to its maximum. The structure of the house is built with steel sheets, which reduces the thickness of the external walls to 50 mm and the interior walls to 16 mm.

In that way, the structure, walls and the floors merge together and each part appears to have the same weight. Interpreting the idea of ‘a one room studio’, the architect connected the individual rooms. She made cuts in the internal walls of the adjoining rooms, and left them without any glass. This offered new possibilities. Some rooms look outside through another room’s window.

The air flows freely through these openings from room to room, and the boy or his cat can enter or exit through these openings at will. No space is shut off completely. Consequently, offering such a choice of different actions, the idea of privacy turns elastic. The members of the family can choose their place according to their moods, wanting to be alone or with others.