Thursday, June 02. 2011Rainbow PanoramaVia Fubiz ----- By Versa Olafur Eliasson a réalisé cette installation offrant une vue à 360° sur la ville danoise d’Århus. Cette oeuvre circulaire use des couleurs de l’arc-en-ciel pour donner une ambiance originale, et permet d’accentuer le panorama. Plus de visuels de cette installation dans la suite.
Related Links:Tuesday, May 24. 2011Barcelona Rock / UGO architectureVia ArchDaily ----- Courtesy of UGO architecture Poland-based UGO architecture shared with us their proposal for the Barcelona 2011 Bohemian Hostel for Backpackers International Competition. More images and architect’s description after the break. Courtesy of UGO architecture Barcelona Rock hostel is supposed to be a unique place. It is supposed to become a new symbol of Barcelona. In search for inspiration we were trying to find something common for the city’s architectural marks such as Sagrada Familia, Torre Agbar or the nearby Museum of Modern Art. We found it in Montserrat – in a mountain range near Barcelona (the highest elevation in Catalonia, you can see it from Barcelona). The stone from that mountain range was used for the buildings of the old city. Courtesy of UGO architecture The form of the building is a part of a mountain. The stone elevation introduces life to the building, which is covered with greenery and provides shelter to birds, and which becomes a natural feature of historic importance in the centre of the metropolis. In the hostel there are 50 rooms with a window, a swimming pool (jumping from the rock into the water), spa, gym, cinema, pub, shops and climbing walls for beginners. The outer elevation of the hotel forms climbing walls for more advanced climbers, who can spend the night there using special equipment. We hope the hostel will become a symbol of the city as Ayers Rock is for Australia. Courtesy of UGO architecture The elevation is made of stone blocks (stone slabs 4 meters high) mounted on stilts of reinforced concrete. These blocks are mounted in some distance from one another to ensure the air penetrates into the building. The advantage of using stone in this climate is that it radiates heat at night and cools the air during the day.
Thursday, May 19. 2011Museum of Ocean and Surf / Steven Holl Architects in collaboration with Solange FabiaoVia ArchDaily ----- by Kelly Minner The Museum of Ocean and Surf (Cité de l’Océan et du Surf) explores both surf and sea and their role upon our leisure, science and ecology. The design by Steven Holl Architects in collaboration with Solange Fabiao is the winning scheme from an international competition that included the offices of Enric Miralles/Benedetta Tagliabue, Brochet Lajus Pueyo, Bernard Tschumi and Jean-Michel Willmotte. The Museum of Ocean and Surf will open to the public this coming June 25th. Architects: Steven Holl Architects in collaboration with Solange Fabiao
The building form derives from the spatial concept “under the sky”/“under the sea”. A concave “under the sky” shape forms the character of the main exterior space, the “Place de l’Océan.” The convex structural ceiling forms the “under the sea” exhibition spaces. The building’s spatial qualities are experienced already at the entrance where the lobby and ramps give a broad aerial view of the exhibition areas, as they pass along the dynamic curved surface that is animated by moving image and light. sections The precise integration of concept and topography gives the building a unique profile. Towards the ocean, the concave form of the building plaza is extended through the landscape. With slightly cupped edges, the landscape, a mix of field and local vegetation, is a continuation of the building and will host festivals and daily events that are integrated with the museum facilities. Two “glass boulders”, which contain the restaurant and the surfer’s kiosk, activate the central outdoor plaza and connect analogically to the two great boulders on the beach in the distance. The glass boulders can be reached through the main entry lobby, which connects the street level to the cafeteria and surfer’s kiosk, and but are also accessible independently through the plaza, which serves as a main gathering space open to the public. © Steven Holl At the building’s southwest corner, there is a skate pool dedicated to the surfers’ hangout on the plaza level and an open porch underneath, which connects to the auditorium and exhibition spaces inside the museum. This covered area provides a sheltered space for outdoor interaction, meetings and events. elevations The exterior of the building is a textured white concrete made of aggregates from the south of France. Materials of the plaza are a progressive variation of Portuguese cobblestones paving with grass and natural vegetation. A combination of insulated glass units with clear and acid-etched layers animates the visual dynamics enhancing interior comfort. The interior of the main space is white plaster and a wooden floor provides under-floor wiring flexibilities. Related Links:Monday, May 16. 2011New International Dark Sky Park Opens in Michigan; Only Nine Others in the WorldVia TreeHugger -----
Michigan's nightlife is looking up. The state's first International Dark Sky Park has been created. It's now one of only six in the U.S. and 10 in the world. Think about that. In lots of (too many?) places on Earth, you don't see the full night sky of stars and galaxies. You see bits and pieces that aren't drowned out by light pollution from city streetlights and buildings (many buildings that don't need to be lit up from top to bottom during the night). Michigan's new Dark Sky Park is a 600-acre stretch of old-growth timber located north of Petoskey, in Emmet County, along Lake Michigan and west of Mackinaw City. The county-owned property, called the Headlands, was recently designated as a Dark Sky Park by the Arizona-based International Dark-Sky Association after experts measured the amount of light in the area, and found that it offered a clear, unaltered view of the night sky, as explained by MyNorth.com. According to the association, some outdoor lighting retrofits are still needed before the Headlands is granted full status as a Dark Sky Park. The county also has passed an ordinance to curtail the growth of artificial light at night in surrounding areas, with the land in and around the park zoned for natural conditions and stringent lumen limits. Mary Adams, of Harbor Springs, Michigan, an association member, was part of a group of locals that successfully pushed for the Dark Sky designation. "The designation gives us a place to stand so we can raise awareness of the importance of having a dark night," Adams says. "It's good for the health and well-being of human beings and of nature. It gives us an opportunity to pause and think that we don't only need to be concerned about the quality of our water and our air, but also another resource that belongs to all of us - the night sky." For more on the disappearance of darkness, see this clip from "The City Dark," highlighted on the International Dark-Sky Association website.
This new designation will hopefully be a boon to Emmet County --- one that doesn't require ripping out trees, constructing new buildings, and lighting them up at night. Several events are planned, including nighttime storytelling, star parties and astrophotography nights. No flashes, please. More on Dark Sky Tourism
Wednesday, April 27. 2011History - WWII Camouflaged CityVia The Funanbulist ----- by Léopold Lambert In 1942, after the United States entered the second world war and fearing the Japanese threat on the Pacific coast, an entire aircraft plant and airport -the Lockheed Burbank- has been camouflaged to escape from sight to potential Japanese airplanes. It is interesting to observe that, in order to do so, the US army had to ask for the help of Hollywood studios -WWII is probably the beginning of a long history of exchanges between Hollywood and the US Army- to make this industrial landscape appearing as a piece of suburbia. The very vast aircraft plant was therefore obliged to function under a porous canopy from which was emerging here and there, some chimneys disguised in trees or fountains. Thanks Martial. (see more on amusingplanet)
Posted by Patrick Keller
in Architecture, Territory
at
08:25
Defined tags for this entry: architecture, history, images, landscape, mapping, surveillance, territory
Thursday, April 21. 2011Das Grosse Interieur
Very nice edited picture by Philippe Rahm architectes on Rahm's Facebook account. It's about a publication in Hochparterre, a swiss magazine. I haven't read the article yet... but the picture describes a sort of climatically variable, imaginary "landscaped" architecture according to what I speculate. Architecture as variable landscape. I like it a lot. To understand why the different "functions" are at different level and why you would need to use ladders to get there, you should check this project.
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Posted by Patrick Keller
in Architecture, Territory
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16:18
Defined tags for this entry: architecture, artificial reality, fiction, function, landscape, territory, variable
Wednesday, April 06. 20112015 Pan American Games Pavilion / Manuel Gross + Patrik Staub + Stefan Vetsch + Yannick VorbergCourtesy Manuel Gross + Patrik Staub + Stefan Vetsch + Yannick Vorberg Manuel Gross, Patrik Staub, Stefan Vetsch and Yannick Vorberg, all recent graduates of the Swiss Federal Institute of Technology Zurich, have shared with us their winning entry for the AIAS/Vinyl Institute 2015 Pan American Games Awards Pavilion to be situated in Toronto, Canada. Follow after the break for a comprehensive write up and additional images of their competition entry. Courtesy Manuel Gross + Patrik Staub + Stefan Vetsch + Yannick Vorberg CONCEPT: Waterfront Toronto The Pan Am Games of 2015 in Toronto are a great opportunity, to reconnect the waterfront with the city. This is our goal because the waterfront offers a lot of qualities. First of all, it is a great place to have a rest. There is a beautiful view and the connection to the water. The waterfront is the perfect place to meet, stroll and relax. The Pan Am Village is located at the West Don Lands, an area that is separated from the waterfront by the railways, the Gardiner Expressway and the Lake Shore Boulevard. With our Project, we bring the people back to the waterfront. The selection of the waterfront as our site is urbanisticly very sustainable – we bridge the physical and psychological barrier of the Lake Shore Boulevard, the Gardiner Expressway and the railways. The pavilion becomes a starting point for the further development of the Lower Don Lands. Courtesy Manuel Gross + Patrik Staub + Stefan Vetsch + Yannick Vorberg Pan Am Games Award Pavilion Our Design is inspired by the Name of Toronto, which is derived from the Iroquois word tkaronto, meaning “place where trees stand at the water”. After a while, the meaning of tkaronot changed into “meeting place”. We really like the simple idea of a meeting place that is created through a couple of trees. The wood is an ethnic roof, which protects people from rain and sun, the wood attracts the people – our pavilion works as simply as that. The huge roof of the pavilion creates an interesting and protecting place, where people can meet, relax or entertain themselves. The forest spreads over the site and leads the people to the water. Under the roof there are some boxes, which contain the different programs like public restrooms, ticketing and the stage with the back stage area and storage rooms. These boxes are inspired by the image of supported logs in the wood. Use of vinyl As a material concept, we tried to use vinyl not only as a cladding material. We developed a simple structure in which vinyl works as a supporting element in form of standard weather balloons. This structure only works with the use of vinyl and that was exactly our goal. The form follows the function and the form became very plurivalent. People may recognize the pavilion as a forest, others may see lots of ephemeral clouds in the sky. This equivocation makes the pavilion so interesting and special. The facade and the roof of the boxes consist of recycled PVC pipes. The pipes have different functions and are more than just a cladding. With this system we also design the furniture for the park. The Victory Soya Mills Silo is an icon of Toronto – townsfolk identify with this building. A light PVC roof creates a special room on top of it without disturbing the presence of the silo. Courtesy Manuel Gross + Patrik Staub + Stefan Vetsch + Yannick Vorberg SITE: Connection The Victory Soya Mills Silos connect our site visually with the city. Projections on the silos lead the people to the site, a bar on the roof makes this icon even higher. The bar attracts people, even after the games. This sustainable intervention supports the further development of the waterfront. Pedestrians and cyclists will arrive via the Union Station. We reevaluate the underpasses of the railways with the same balloon structure as we used for the pavilion. The Cherry Street underpass connects the village with the pavilion. The Bay Street underpass leads from the Union Station to the Queens Quai, our main bike and pedestrian path. The silo works as an orientation point, “balloon trees” reevaluate the Queens Quai and make the street attractive for pedestrians and cyclists. A good infrastructure around the site brings people from the city, but also from the wider region to our site. We plan shuttle buses, which connect the Union Station, the Pan American Pavilion and the Pan American Village. CONSTRUCTION: Pavilion Standard, vinyl based and helium filled weather balloons support a PVC PES membrane. A PVC net holds everything together. Wire ropes with a PVC coating anchor the construction to the ground. The boxes under the roof consist of a simple steel substructure. Recycled PVC pipes clad and stiffen this steel frame at the exterior. The pipes also work as a sunblind and a rain drain. A vinyl insulation with an interior PVC cladding completes the construction. Bar We use an economical construction for this additional program. Reusable scaffolding stairways and construction elevators bring the visitors to the top of the silo. The bar consists of a simple steel and glass construction. A PVC PES membrane filled with helium and air works as a roof. Transparent organic photovoltaic cells are printed on this membrane. They catch the sunlight and transform it into energy, which supports the bar.
Tuesday, March 29. 2011Does Bilbao need another Guggenheim?----- Posted by John Thackara at March 27, 2011 04:38 PM The Basque city of Bilbao was a pioneer in Europe in the use of showcase cultural buildings as a trigger for urban regeneration. Just a generation ago the city's waterfront was an industrial port. Today, in addition to the Guggenheim itself, its architectural landmarks include bridges by Santiago Calatrava and Daniel Buren, and an apartment block by Arata Isozaki. But as with Japan, where the technique was invented [landmark structures were called 'antenna buildings' during their bubble economy of the 1980s] the global crisis finds Bilbao asking: now what do we do? As things stand, the region is still committed to a new "thrust for modernization." Bilbao's strategy, shaped with input from Global Business Network, is to become a "city for innovation and knowledge". There is talk of re-branding Bilbao as Euskal Hiria, a 'poly-centered global city' that would encompass the Donostia-San Sebastian, Bilbao, Vitoria-Gasteiz as single geographical-economic entity. Positioned as a hub linking the north of Europe to the South, the idea is that Euskal Hiria would attract an army of highly-paid lawyers, financial and marketing consultants, and iPad-toting creative professionals of all kinds. These knowledge workers, the strategy implies, would snap up the expensive apartments that now lie empty along Bilbao's waterfront. For all this to happen, Euskal Hiria would need a symbolic edifice to represent this Basque Global City to the world in the way that the Guggenheim does for Bilbao. The scenario confronts two obstacles. The first is that buildings conceived as icons, spectacles, or tourism destinations have fallen victim to the law of diminishing returns. Bilbao's Guggenheim is now one among hundreds of me-too cultural buildings around the world. As their number has grown, their capacity to attract attention, or differentiate their host city, has declined. Spoiled consumer-travelers are liable to lunch in the café, buy the t-shirt, and move on. That's not a great return on all the time, work and money needed to bring these totemic edifices about. The second objection to the Euskal Hiria strategy, and Guggenheim 2 as its emblem, is that they would stand for the high entropy economic model that caused the global crisis in the first place - and that is now dying. If the iconic cultural building as a catalyst of development has run its course, and the Real Estate Industrial Complex is gone forever, is there an alternative? A conference in Bilbao last week, oganized by Fernando Golvano and Xabier Laka, challenged speakers to propose new models of development based on more artful and sustainable uses of the region's social, landscape and natural assets My contribution was to say that a bioregion - more than a high-entropy 'knowledge hub' preoccupied with abstraction - could be the ideal basis on which to re-imagine the future development of the Basque Country. At the scale of the city-region, a bioregional approach re-imagines the man-made world as being one element among a complex of interacting, co-dependent ecologies: energy, water, food, production, and information. The beauty of this approach is that it engages with the next economy, not the dying one we have now. Its core value is stewardship, not perpetual growth. It focuses on service and social innovation, not on the outputs of extractive industries. Being unique to its place, it fosters infinite diversity. The idea of a bioregion also changes the ways we think about the cities we have now. It triggers people to seek practical ways to re-connect with the soils, trees, animals, landscapes, energy systems, water, and energy sources on which all life depends. It re-imagines the urban landscape itself an ecology with the potential to support us. A bioregion is literally and etymologically a "life-place" - a unique region, in the words of American writer Robert Thayer, that is "definable by natural (rather than political) boundaries with a geographic, climatic, hydrological, and ecological character capable of supporting unique human and nonhuman living communities". A growing worldwide movement is looking at the idea of development through this fresh lens. Sensible to the value of natural and social ecologies, groups and communities are searching for ways to preserve, steward and restore assets that already exist - so-called net present assets - rather than thinking first about extracting raw materials to make new iconic buildings from scratch. One idea already floated in the Basque region is to locate a Guggenheim-type facility in the Biosphere Reserve of Urdaibai. This spectacular salt marsh and coastal landscape on the Bay of Biscay coast covers an area of 220 km2 and contains only 45.000 inhabitants. My response, at the conference, was that a 'pure' piece of nature, such as Urdaibai, is not the ideal starting point for a new regional narrative. It would reinforce a myth that sustainable development involves returning to pure and unsullied nature. A better priority, I proposed, is to focus on ways to restore and enhance the flows and ecologies of city and countryside. A number of artists in the Basque region, it turns out, are already exploring this approach. In a variety of ways, they are engaging citizens in new kinds of conversations and encounters whose outcome is transform the territory - but indirectly. Maider Lopez for example, invited citizens to create a traffic jam on the sides of mount aralar where normally traffic is light. More than 400 people in 160 cars responded to the invitation. For five hours of a mid-September day participants clogged up the winding roads of the the Aralar Mountains in a variety of artful ways. Lopez, who describes her work as 'a poetic approach to community engagement in daily life', told us her traffic jam was to get people thinking about the automobile’s impact on the landscape - only to do so without telling what to think or do about it. Another artist, Ricardo Anton, presented a project about trash. His approach was to use subtle signs and signals - such as framing dumping site blackspots with CSI-like striped tape. Anton explained that these kinds of projects 'create new spaces for encounters in an ever changing territory of relationships'. They are a variety of what he called 'micro-politics' that in his experience are more effective than telling citizens what to do, or how to behave. Saioa Olmo Alonso described an enchanting project in the abandoned Bizkaia Theme Park that closed in 1990. Seventeen years after closing its doors, the original Ghost Train, Octopus and Crazy Worm were gradually being overgrown. Alonso invited groups of citizens to imagine new possibilities for an area once dedicated to fun and entertainment. These light-touch encounters create what Alonso calls 'micro-utopias'...whose positive energy complements the formal planned features of a town's development. In Bilbao I also caught up with Asier Perez, from Funky Projects. Asier had wowed a Doors of Perception event in 2004 with his presentation about cactus ice cream as a communication tool - so I was keen to get an update. Combining artful interventions and service innovation, Funky Projects' portfolio now includes service design for Telefonica and Pepsico, as well as many projects for government and third sector on social innovation and the development of new kinds of tourism services. Funky projects are developing strategies for the Gorbeialdea region - Euskadi's 'green heart' - where local authorities developed the idea of being a shepherd for a day or listening to animals sounds by night. The work of these artists and designers anticipates a new approach to regional development. With the bioregion as their canvas, they are helping different kinds of groups and communities imagine new uses for the places and contexts that surround them. They are not alone. A new kind of economy - a restorative economy - is emerging in a million grassroots projects and experiments all over the world. The better-known examples have names like Post-Carbon Cities, or Transition Towns. The movement includes people who are restoring ecosystems and watersheds. Their number includes dam removers, wetland restorers and rainwater rescuers. The movement is visible wherever people are growing food in cities, or turning school backyards into edible gardens. Many people in this movement are recycling buildings in downtowns and suburbs, favelas and slums. Thousands of groups, tens of thousands of experiments. For every daily life-support system that is unsustainable now — food, health, shelter and clothing - alternatives are being innovated. What they have in common is that they are creating value without destroying natural and human assets. The keyword here is social innovation - and the creation of social goods - because this movement is about groups of people innovating together, not lone inventors. Listening to the artists' stories in Bilbao, however, I reflected that it would be hard work to sell these kinds of project to policymakers and development professionals. In their world, ideas are the easy part. What's hard is getting disparate actors to collaborate. In that respect, iconic building projects can be an effective way to focus and galvanise the energies of disparate stakeholders. But if shiny new cultural buildings are a thing of the past, could a new kind of icon take their place? Someone suggested that perhaps Urdaibai should be host to something like the Eden Project: The drawback with this idea is that Cornwall already has the original Eden Project - so why copy the same, only 10 years later? At this point, as if by fate, Xabier Laka, one of the organizers, mentioned the Lemoniz Nuclear Power Plant. Construction of this huge facility was nearly complete when, 28 years ago, Spain's nuclear power expansion program was abruptly cancelled following a change of government. The Lemoniz plant was never commissioned. Since then, several propositions have been made to reconvert the place for other uses - but none has taken off. Bingo! I thought. This could be the perfect next icon for the Basque Country. I could see the headline: "Lemoniz: from Nuclear Energy to Social Energy". It could become a year-round showcase and hub for the multitude of projects that are out there in the territory, only invisibly so: productive urban gardens; low energy food storage; communal composting solutions; re-discovery of hidden rivers; neighbourhood energy dashboards; de-motorised courier services; software tools to help people share resources. Now all I need is to persuade the nice Mr Galán, who owns the Lemoniz site that, now his Iberdrola Tower is more-or-less complete, this should be his next sustainable innovation project.
Monday, March 21. 2011Agricultural Landscapes Seen From SpaceOn daily basis we come across images that are built using various code techniques, whether this be pixelation, glitch, particle fields, swarms, reaction diffusion, looking that these images on Wired Science, it’s amazing to see the similarities between the works we create and the environment we inhabit. Even more apparent when we consider that they bare no correlation to one another and the large gap in scale that exists between them. Likewise, the images below appear strangely “Digital”… Agriculture is one of the oldest and most pervasive human impacts on the planet. Estimates of the land surface affected worldwide range up to 50 percent. But while driving through the seemingly endless monotony of wheat fields in Kansas may give you some insight into the magnitude of the change to the landscape, it doesn’t compare to the view from above. more on Wired Science
Personal comment: Pixelated landscape! Thursday, March 17. 2011On Ash Clouds and Snow StormsI’ve discovered this new electronic technique that creates new speech out of stuff that’s already there. Iceland is volcanically and geologically active. The interior mainly consists of a plateau characterised by sand fields, mountains and glaciers, while many glacial rivers flow to the sea through the lowlands. In this context, Eyjafjallajökull is one of the Iceland’s smaller ice caps located in the far south of the island. It covers the caldera of a volcano 1,666 metres [5,466 ft] in height that has erupted relatively frequently since the last ice age. Eyjafjallajokull most recent eruptions in 2010 were the cause of huge disruption to air travel across western and northern Europe and also caused big impact on farming, harvesting or grazing livestock. We can also read that samples of volcanic ash collected near the eruption showed a silica concentration of 58%—much higher than in the lava flows. Interesting context for an architecture and landscape course, isn’t it? Focused on understanding the complex reality of nonbuilt environments beyond poetic contemplation or scientific analysis, The Collector, On Ash Clouds is a course at the Master in Landscape Design Program from Harvard GSD with Paisajes Emergentes as visiting professors, which aims to register, interpret and draw weather and natural phenomenon with the intention of use the generated archive as raw material for the design process of any landscape project. The course was divided into three major bodies of research*, which was done between a visited site [USA] and a non visited place [Iceland]: [1] Weather and atmosphere [2] Emerging Landscapes [3] Drawings and photography The course lasted one week [in January 2011] during some of the most intense days of Boston’s winter. Within that week, the students did a quick exercise of research and then proposed an observatory project, working with unpredictable and violent natural phenomenon as the core of the research. As the instructors Luis Callejas and Sebastian Mejía [from Paisajes Emergentes] pointed: “It can be difficult to determine the boundaries of a complex natural system. The decision is ultimately made by the observer.” Luis Callejas also told us via e-mail:
Working with the ash cloud generated by 2010 eruptions of Eyjafjallajökull volcano, the group studied the conditions and effects that emerged due to this event, and its relation with issues like air navigation, the phenomenon of turbulence, and the possible effects on the island’s ecosystem, among others.
The idea of analyzing and working with issues like storms and islands also reminds us the Glacier/Island/Storm studio at Columbia GSAPP by Geoff Manaugh. As Rob Holmes pointed on mammoth:
From statements as “Building is not always edifying: designing with what is already there“, the students have worked on the perspective of investigative landscape design and its important role in history, architecture and imaginative creation. The result is a powerful intensification of emerging landscape conditions as possible solutions to design problems. If Brian Eno once said “For the world to be interesting, you have to be manipulating it all the time.”, now we’re going to visualize geologic time by looking into the past as a way to look into the future, through the student’s eyes and their proposals to “manipulate the world”. And such as a long event as an island is, we’re going to analyze and write here a series of five post [this, the first one] to talk, using the student’s projects as study cases, about all the possibilities that are contained in the research of this kind of natural phenomena and how they can affect our architectural thinking and our response to environmental crises. …………………………………………………………… Harvard GSD Course. Master in Landscape Architecture Students: Instructors: Luis Callejas, Sebastián Mejía, Lukas Pauer
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Posted by Patrick Keller
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at
10:56
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fabric | rblgThis blog is the survey website of fabric | ch - studio for architecture, interaction and research. We curate and reblog articles, researches, writings, exhibitions and projects that we notice and find interesting during our everyday practice and readings. Most articles concern the intertwined fields of architecture, territory, art, interaction design, thinking and science. From time to time, we also publish documentation about our own work and research, immersed among these related resources and inspirations. This website is used by fabric | ch as archive, references and resources. It is shared with all those interested in the same topics as we are, in the hope that they will also find valuable references and content in it.
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