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Networks

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e: u q a J s é r d n A ady e lr a is e r u t c Archite tant r o p im n a g experiencin sa a lf e s it g in e e shift: from s , to e n li ip c is d g in its space makin h it w s e li it t a g th in d n a t s r e d s n u ip h s n io t la e r sign e d o t y it c a p ca es, ip p ( s t n e m le [through its e l a it ig d s lu p ) c et h ic walls, doors, h w in ] ld r o aw in , s ie g lo o n tech e. t a r e p o o c e n on- and off-li he T “ , ) 6 1 0 2 ( r e y Bernd Upme ena r A l a ic t li o P Home as a e”, u q a J s é r d n hA Interview wit 24 . n , 6 5 . p p MONU,

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e: u q a J s é r d n A e the il c n o c e r o t ed t We wished n a w s r e n w he o t e f li ic t is n o hed with , e s u o h e h t ithin to develop w ral u t a n t a h t f o tion the preserva milieu. “An , ) 5 1 0 2 ( a v e .57 p , Albena Yan ” e u q a J s é ndr A h it w w ie v r era a Inte Z o r d n ja le va, A e n a Y a n e lb al ic t in A li o p o m s o t Is C a h W , . s d e Polo Design? ge d le t u o R : r e h Publis

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e: u q a J s é r d n nt e A m ip u q e t s g mo n i t a r t n e c n Co ete r c n o c a in s and service k of a is r y n a t n e v the tank, to pre n o l il p s l a t n cide the damaging ac e iz d r a p o je ould w t a h t d n u o r ed g lp e h o ls a t I . ture] a n f o [ l a iv v r su n. ig s e d e h t f o s other aspect o t y s a e e d a it m l o o For example p g in m im e sw h t e t a d o m o acc crete n o c d e c r o f rein y n a m in it... So the r e h t e g ugh to o r b lf e s it in tank presences. “An , ) 5 1 0 2 ( a v e .59 p , Albena Yan ” e u q a J s ndré A h it w w ie v r t Is a h Inte W , . s d e Polo . A , a v e n a Y in A. n? ig s e D l a ic t li Cosmopo ge d le t u o R : r e h Publis aque J s é r d n A ation v o n n I l a ic t li Office for Po rland

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e: u q a J s é r d n A the in d n u o f e b o t Design is not sign e d f o s n io t la initial formu ries o t c je a r t e h t ut in proposals, b part e m o c e b y e s th and evolution ord c of... e r o t e it s n eks o e w t n e p s e and W n io it s o p , s pecie s e h t il a t e d in e. e r t d n a h s u b form of every An “ , ) 5 1 0 2 ( a v Albena Yane ”, e u q a J s é r d An h it w w ie v r e t In s., p. 57-59 d e lo o P a r e , A. Za a v e n a Y . A in ign? s e D l a ic t li o p o What Is Cosm dge utle Publisher: Ro

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e: u q a J 65 s é r 3 , d 6 s n . s aera p A e Z c o o r r d p n n ja io le t c A va, stru e n n o a c Y e a h t n e g lb in r A f ical t o in Du li e o p m o o S m s . o d e C erg t Is m a e h s W ie , t . li s a d e e r lo new Po e h t in d e d lu c ot in as sign? e w them were n D e r e h t , m e dge ut th le t o u h it o R W : . r . . e h ls s e li perly mod Pub o r p o t s ic t c ve ta a h o t y a w o into n n io t la u ic t r a sive lu c in n a g in r b .... s s e c o r p e h t f those parts o as w s e e r t f o e nc ence The persiste s e r p r i e h t to d e t a l e r y l t c the dire h ic h w h g u o r es th The in the devic . . . . d e s o p m g co in e b s a w e it s hat w t s u j s i e r tu and idea that na e r u t c e t i h c n ar e h w s n e p d p e ha d i o v a e r a lage b m e s s a l a i soc e. r e h k r o w t does no n A “ , ) 5 1 0 2 ( a v Albena Yane ue”, q a J s é r d n A h Interview wit aque J s é r d n A ation v o n n I l a ic t li Office for Po rland

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l a b lo g is y it n uma h f o s e t la p y, t li new a t o t s it in arth E t e n la P , e r d e s s natu o r c d n a l oca r ip c e r f o t a e the s cal lo s it g n o m a s t n e n interrelations o p m o c iant g s it d n a s t n eleme ere. h p s o m t a , t r se - oceans, de ch), n e r F 2 9 9 1 , (1995 s e r r e S l e h Mic -20 6 1 . p , t c a r t on C l a r u t a N e h T of y it s r e iv n U e Publisher: Th ss e r P n a ig h ic M

s: e r r e S l e h ic M of r o t c a l a u t c ra A major cont ope r u E , y it n u m om the human c illion b r e t r a u q a st t in weighs at lea u b , t h ig e w y bod ns souls. Not in io t la e r f o s k r etwo n d e s s o r c s cts it je b o ld r o w f er o b m u n e h t d an like a s e v a h e b t I l. at its disposa sical y h p a g in m co sea. ... [is] be won y ll u f o s e v a eh variable. ... W ther o t s in a g a e f for li the struggle at, h t a n u a f d n ra a o fl f o s ie c e p s we , ld o h s e r h t da e h c a e r g in v ha will , ly n e d d u s , y r fear that victo .. . . t a e f e d o t d in d n a be overturne l u f r e w o p have e w ly e iv t c e ld. r o Coll w e ir t n e e on th s t c e f f e y t h s. weig e id s d e g n a h just c s a h y it il g a r F ese h t f o t r a p r e t n The new cou no

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r: Bruno Latou f o e n o ly b a b ro A tapestry, p nd a y d r u t s l, u if ut the most bea f O . d le b m e s r as complex eve s in le o h f o t lo a are course there ing v a e w t a h w s is le o h g in v a h , it But . t u o b a is s e d knots and no nt ie il s e r ly g in z a tapestry is am ay it is wovenw e h t f o e s u a by d bec e t a r b li a c e r o be t a t a d g in w allo a. s r e v e ic v d n models a for g in it a W “ , ) 5 r (201 u o t a L o n u r B 26 era a Gaia”, p. 25Z o r d n ja le va, A e n a Y a n e lb al ic t in A li o p o m s o t Is C a h W , . s d e Polo Design? dge le t u o R : r e h s Publi eva

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