
In Jacques Tati's classic film *Mon Oncle* (1958), the house—as the scenographic embodiment of the "machine for living"—is the protagonist. Its technological devices, occasionally untameable, dictate the rules. The homeowner, Madame Arpel, is a typical technocentrist, marveling at the technology surrounding her and believing it to be the solution to all her daily problems. In contrast to Madame Arpel is her brother, Mr. Hulot, who arrives for a visit and struggles to cope with all this innovation. Throughout his stay, we are introduced to a house that proves to be highly complex, while simultaneously denying the user any control.























