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The text explores the relationship between architectural plans and the social dynamics of domestic life, tracing a shift from the "matrix of connected rooms" characteristic of the Italian Renaissance to the compartmentalized, corridor-based plans of the 19th century.

The author begins by noting that ordinary domestic spaces often conceal deeper social and cultural meanings. Architectural plans, in particular, can be read as representations of human relationships, with walls, doors, and stairs dividing and reconnecting inhabited space. However, the human figures that ultimately occupy these spaces are often absent or reduced to abstract symbols in architectural drawings.

The author then turns to the work of the Renaissance artist Raphael, whose paintings of the "Holy Family" depict figures in intimate, carnal poses that seem to transcend the constraints of the pictorial space. This corporeal intimacy is echoed in the plan of Raphael's architectural project, the Villa Madama, which features an asymmetrical arrangement of interconnected rooms, lacking the symmetry and repetition typical of classical planning.

This matrix of connected rooms, the author argues, was characteristic of Italian domestic architecture prior to the 17th century, allowing for a fluid circulation and frequent encounters between the various members of the household. The text cites contemporary accounts, such as Castiglione's "The Courtier", which describe the lively social gatherings that took place in these interconnected spaces.

In contrast, the 19th century saw the rise of the corridor plan, which physically and socially segregated different members of the household. The author traces this shift to a growing emphasis on privacy, propriety, and the containment of "interference" between occupants. Figures like Robert Kerr advocated for the "terminal room" with a single, strategically placed door, in contrast to the multiple-door rooms of the Italian tradition.

The text then explores how this reorganization of domestic space both reflected and reinforced changing attitudes towards the body and social interaction. Writers like Samuel Butler expressed a growing distaste for the "clammy heat of intimate relationships", while modernist architects like Alexander Klein sought to design the "Functional House for Frictionless Living", minimizing the potential for accidental encounters.

The author concludes by suggesting that this historical trajectory, from the "matrix of connected rooms" to the compartmentalized, corridor-based plan, represents a broader shift in sensibilities, from a society that "feeds on carnality" to one that finds such intimacy distasteful. The text proposes the possibility of an alternative architecture that would "give full play to the things that have been so carefully masked" by the modern emphasis on privacy, segregation, and the suppression of social experience.