M.I.N.E. Digital Practices and Multi-Use Space

Maison de l’Innovation Numérique et Ecologique by the dark mass of burnt shousugiban wood forms a “cookie-cutter” light filter, with wide openings to the landscape

▏Maison de l’Innovation Numérique et Ecologique

Situated across from the train station, the strange prismatic volume of the M.I.N.E. (Maison de l’Innovation Numérique et Ecologique) houses an inclusive training and creative space dedicated to digital tools and the promotion of local resources and know-how. The ground floor is a showcase open to the city. Above, the dark mass of burnt shousugiban wood forms a “cookie-cutter” light filter, with wide openings to the landscape.

The project’s bioclimatic architecture makes the most of the site’s natural resources – both material and energy. Architecture of the sun; photovoltaic panels power the systems. Architecture of water and soil; the large roof slope irrigates the small garden. Architecture of air; the large windows, protected from the sun by the cladding, naturally renew the atmosphere right up to the sheds.

▏Made using digital prefabrication

Neighboring the Morvan and Châtillonnais regions, the project uses wood in all its components. The superstructure combines a solid timber post-and-beam system with large, monolithic CLT bracing walls. Made using digital prefabrication, they feature semicircular holes echoing those of the façade.

▏Industrialized Forms

As a corollary to these industrialized forms, wood is also showcased in its more archaic, artisanal forms. The project incorporates hand-carved solid oak posts from the nearby forest]. As for the forecourt, [it makes the most of the reuse of ashlar blocks from the site’s former buildings.

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Bioclimatic, Digital, Industrialized, multi-use, Photovoltaic, Practices, Prismatic, Strange

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絕版——Shepard Fairey 深入探討抗議的力量，以其大膽的插畫和極具辨識度的海報而聞名，在街頭藝術和滑板文化領域聲名鵲起，1989年創作了一張貼紙，頭像成為他之後數十幅印刷品上的常見圖案。在2008年總統競選期間風靡主流，他的肖像出現在“希望”一詞上方。這幅充滿樂觀精神的作品展現了草根行動主義。從女權主義活動家安吉拉·戴維斯到政治動盪中像徵和平的標誌性符號，謝潑德·費爾雷以其大膽的插畫和極具辨識度的海報而聞名。他在街頭藝術和滑板文化領域聲名鵲起，1989年創作了一張貼紙，上面寫著“巨人安德烈有幫派”，這張貼紙廣為流傳，並最終使這位摔跤手的頭像成為他之後數十幅印刷品上的常見圖案。費爾雷的圖案設計在2008年巴拉克·奧巴馬總統競選期間風靡主流，他的肖像出現在“希望”一詞上方。這幅充滿樂觀精神的作品展現了草根行動主義，深入探討抗議的力量，尤其是透過印刷和分享圖像的方式，如何能夠成為標誌性符號並產生巨大的影響。由Beyond the Streets畫廊呈現的費爾雷作品回顧展「絕版」（Out of Print）頌揚了畫廊所稱的「墨水和紙張所蘊含的反叛而民主的力量」。展覽展出了費爾雷過去幾十年來創作的400多幅版畫作品以及他的新作。許多海報都強調了他對行動主義、賦權和抗議的關注。他被稱為“服從巨人”（Obey Giant）的顛覆性實踐甚至還有一句口號：“自1989年以來，製造高品質的異議。” 費爾雷經常將20世紀早期宣傳海報，尤其是蘇聯宣傳海報的色彩搭配和現代主義圖形元素融入作品中。他將與法西斯主義相關的設計元素融入和平、女性主義、愛與民主的訊息中，從而強化了印刷媒介的力量。 “有些人說數位媒體終結了印刷，但印刷品在牆上或戶外所帶來的那種震撼人心、觸感十足的體驗是無法取代的，”費爾雷說道，“印刷依然重要！” 展覽將於11月15日至1月11日在洛杉磯舉行。欲了解更多信息，請訪問畫廊網站，關注費爾雷的最新動態，並在他的商店購買版畫。