Diogene is not an emergency accommodation, but a voluntary place of retreat. It is supposed to function in various climate conditions, independent of the existing infrastructure, i.e. as a self-sufficient system. The required water is collected by the house itself, cleaned and reused. The house supplies its own power and the necessary platform is minimized. We live in an age in which the demand for sustainability forces us to minimize our ecological footprint. This postulate is paired with the desire to concentrate and reduce the direct living environment to the truly essential things. Diogene might remind one of Henry D. Thoreau, who wrote the following in his book “Walden/Life in the Woods” in 1854: “I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach.” It is no coincidence that Piano also regards his project as “quite romantic” and emphasizes the aspect of “spiritual silence” which it conveys: “Diogene provides you with what you really need and no more.”
As architectural references, Renzo Piano lists the “Cabanon”, which Le Corbusier constructed at the beginning of the 1950s in Cap-Martin in the Côte d’Azur, the prefabricated house structures of Charlotte Perriand, and the Nakagin Capsule Tower, which Kisho Kurokawa erected in Tokyo in 1972. The late 1960s and early 1970s in London were very formative years for Piano: In the interview, he mentions one particularly important influence during this era as being Cedric Price with his “Fun Palace” and the hippie movement.
[The little house. sigh.]