生物数字城市的起源

克劳迪娅·帕斯奎罗，马可·波莱托/Claudia Pasquero, Marco Poletto

刘洁 译/Translated by LIU Jie

生物数字城市的起源

克劳迪娅·帕斯奎罗，马可·波莱托/Claudia Pasquero, Marco Poletto

刘洁 译/Translated by LIU Jie

在本文中，作者主要介绍了一些利用前沿的数字设计技术来进行的材料和生物运算实践，以及在这背后的新的思考是如何从根本上影响我们对当代城市的构想的。首先，在科学/技术层面上，对这些材料运算方法的研究可以使设计师突破传统数字设计过程中所常用的以描述为导向的运算方法；其次，从社会/文化的角度来看，这种能够参与到生命物质进化过程中的机会有助于增加我们与周围环境之间的互动程度；而其最终的潜力将会是把整个过程中的任何一个观察者变为这个过程的共同设计者。基于此，本文进而将会对当前生态危机背景下建筑所呈现的角色进行讨论，并以此呼吁人们对当前这种新的地质时代——科学家们称之为“人类世”——进行批判性的解读。

数字设计技术，生物数字城市

“乡村和城市的形成是很自然的一件事情。我们可以将它视为一种自然科学。我们可以将它看做是一种类似于园艺的艺术。它的存在离不开我们对其中的植物、土壤和水的了解。城市发展这门艺术需要我们对自然界中的所有生物体以及非生物元素的现状以及技术的潜能有所了解。”

——弗雷·奥托[1]

城市圈：作为增强版的生物圈

如果我们从卫星的视角来俯视如今蓬勃发展的全球城市，会发现很难去区分什么是自然的，什么是人造的；尽管当代城市是一个常被描述为自然的对立面的大型人造系统，但是它所生长出的城市形态结构却与自然形态不谋而合。之所以会形成这样的结果是因为城市和自然都是一种复杂且动态的系统，其系统的总体生长趋势均为非线性的，并且是非常难以预测的。通过卫星监测的视角，我们可以获得一种与传统人类视角截然不同的划分人造（城市）与自然（景观）界限的新方式。而基于这种宏观的视角，我们也可以进而讨论非人视点下的城市领域的范围。在此尺度下，城市及其形态的生成则主要是促使其新陈代谢的物质、信息和能量流动的结果。这也使得我们从对城市形态（即对建筑与空白场地的感知）的关注转变到对地形肌理形成过程（当代城市景观形态）的关注。换句话说，我们可以开始把城市看作成一种具有生命的动态系统。

在过去的10～15年中，全球化已然将世界以一种不可思议的程度相互联系交织在一起。同时，当今城市之间物质、能源和信息的流通无比浩大已使得城市再也不可能以均质或混乱的状态存在。如此这样的城市网络不仅从空间上跨越了大陆，同时也已然连接至资源驱动型产业中的生物圈部分。城市网络的存在虽然对于我们的城市社会的维系而言必不可少，但是它却不利于这个社会中居民的财富和幸福。这是一个整个世界都如此自相矛盾的怪圈，我们将其称之为“城市圈”。城市圈在以一种令人难以置信的速度生长，并且它已经涉及到了构成自然生物圈的所有系统，以至于我们已经无法再将城市圈和自然生物圈分割开来。而这，便是“人类世”的本质所在。

所以，我们应当扪心自问：我们该如何对“城市圈”进行设计，才能使其更具有弹性及适应性进而将其演变成为一种“增强版的生物圈”？

这个问题的提出使我们觉得有必要去开发一些嵌入了持续适应能力和自我评估能力的变革工具。随着自然界与嵌入式人工产物之间的融合变得越来越密切，原本那些常规的保护自然的方法正逐渐丧失其价值，它们需要被一些更合适的新型操作机制以及那些能够直接评估出人类对自然生态系统改造究竟能带来的多大影响的新方法所代替。建筑，作为一门学科，必须提供一种能够来应对变化和转型这两个生态城市典型特征的新的材料和运作机制。而建筑也可以被当作是异质系统——如社会系统、基础设施体系和环境系统——之间的材料界面。因此，我们可以重新对建筑进行思考，将其视为一种能够通过我们的日常生活进行感知、记录和操控的事物，一个能够持续扩张进而可以定义我们的城市面貌及我们的新型城市自然混合栖息地的事物。

这种想法使我们调动出一些全新的角度来进行思考，我们追踪根本、放眼大局、侧目旁观。我们因此呼吁一项批判质疑“人类世”的新策略，并认为应当将“园艺”作为“人类世”的新中心，并使其成为城市环境转型变革中的设计实践常用手法。在这里，所谓的“园艺”不仅指代种植、培育植物及蔬菜，同时，正如上文弗雷·奥托所提及的一样，我们其实更多地强调对一种动态的具有生命的材料的广泛应用以及对这种材料所进行的数字算法编程，而它们将能够定义我们的城市和都市景观。

如园艺般编程

由于前文所提及的基于材料的算法本身具有特殊性，使得对其编程往往会固定于某一特定的环境背景。对于这种特殊性的解释，我们可以将其等同于对比生物工程师在实验室合成人工组织与园丁在干旱的土地孕育生命；虽然二者都在进行生成新事物的工作，但是其所需的环境是截然不同的。前者需要一个完全受控和精细的测试场以保证他的程序操作具有普适性，而后者则需要考虑到他的花园里可能会遇到的那些不可预测的生态环境中的不稳定因素。

H.O.R.T.U.S.和城市藻类冠层是笔者最著名的项目之一，之所以设计它是因为笔者希望能够建造一个嵌入式生长的范例。有趣的是，该项目最初仅仅是希望在城市中建造微型藻类花园，然而，在与兰德大学的进化生物学家凯瑟琳·罗格朗的交谈之后，项目的概念也发生了进化。凯瑟琳·罗格朗认为若能够设计大量的、物种丰富的微型景观，其或许会作为“泛环境”的一部分以一种未知的可能性繁荣发展起来。事实上，她指出，微型藻类其实是无处不在的，但我们不知道如何培育微藻生态以及如何将其变成富有效果的高产的城市花园。

'Te settlement, the human city, is natural. To recognize it is a natural science. To tend it is an art, analogous to horticulture. Tis cannot exist without knowledge of the plants, soil and water involved. Te art of urban development requires knowledge of all living organisms in nature, of non-living nature, the present state and the possibilities of technology.'

– Frei Otto[1]

The Urbansphere as an augmented Biosphere

If we look at contemporary booming global cities from the perspective of a satellite, we find it quite difficult to distinguish what is natural and what is artificial; contemporary cities, despite being large manmade systems often described as the antithesis of nature, develop morphological structures that recall natural formations. This is because they are complex and dynamical systems and their overall growth is non-linear and highly unpredictable. The perspective enabled by satellite monitoring provides us with a different set of boundaries that depart from the traditional humanoriented distinction between the artificial -the city -and the natural -the landscape. Tese macro patterns allow us to discuss what we may call the non-anthropocentric view of the urban realm. At this scale cities and their morphologies are mostly determined by the flows of matter, information and energy that fuel their metabolisms. Tis shifts our attention from urban form – in the sense of a build figure vs. unbuilt ground – to the morphogenetic processes that underpin the current morphology of an urban landscape. We can in other words begin to look at cities as living systems.

Over the last 10-15 years the world has become globalised and interconnected to an incredible extent, and the flows of material, energy and information feeding contemporary cities are vast. Cities are now far from equilibrium, turbulent systems. Such networks now span continents and connect points across the biosphere part of a resource-driven industry that is both necessary to the survival of our urbanising society and detrimental to the wealth and well-being of its inhabitants. It is a paradoxical condition that we call 'urbansphere' and that envelops the entire world. Te Urbansphere has grown at an incredible rate affecting all the systems that compose the natural biosphere, to the extent that it has become impossible to separate the two. Tis is the essence of the Anthropocene age.

1 H.O.R.T.U.S. ZKM by ecoLogicStudio

So we should ask ourselves: how can we design this 'urbansphere' to make it more resilient and adaptive and evolve it into an 'augmented biosphere'?

This question confronts us with the necessity to develop instruments of transformation equipped with an embedded capacity of constant adaptation and self-evaluation. As nature is becoming more and more hybridised with embedded artificiality, the ethical paradigm of natural conservation is progressively losing its value and needs to be replaced with more adaptive mechanisms of management and direct evaluation of the effects of human transformation of natural ecosystems. Architecture as a discipline must provide a new material and operational framework to deal with change and transformation, the two main defining qualities of this new form of ecosystemic urbanity. Architecture can act as a material interface between heterogeneous systems, such as social, infrastructural, and environmental ones. We can therefore re-think architecture to signify sensing, registering and manipulating through our daily lives the unfolding processes defining our cities and our new hybrid habitats.

Such an approach mobilises a number of perspectives that go underneath, above and to the side of our customary human (anthropos) view. We therefore call for a strategy that critically questions the geological period of the Anthropocene claiming a new centrality for 'Gardening', as a design practice as well as modus operandi in the transformation of the urban environment. 'Gardening' is here referred to not only as the practice of tending plants and vegetables, but, as prefigured by Frei Otto, we point to an expanded field of dynamical material and digital processes which define our cities and our urban landscapes.

Coding as gardening

Material algorithms, as defined before, posses a rather peculiar nature which makes coding specific to a certain milieu. This peculiarity can be exemplified by comparing the methods of a bioengineer synthesizing artificial tissues in a lab with the one of a gardener reviving a patch of dried land; while both are running generative protocols, the first requires a perfectly controlled and refined testing ground for his procedures to acquire general applicability while the second needs to consider the unexpected fluctuation of the ecology of his garden.

Engaging this idea of an embedded generative protocol is at the core of one of the authors' best known project, the H.O.R.T.U.S. and the Urban Algae Canopy. Interestingly the project's concept, centered on the urban cultivation of micro-algal gardens, has evolved in conversation with evolutionary biologist Catharine Legrand, from the university of Lund. She described the unexplored possibility to design microbial landscapes of considerable size and diversity that would thrive as part of what we would call an extended milieu. Indeed, she noted, microalgae are everywhere but we do not know how to tend microalgae ecologies and turn them into productive urban gardens.

2.3 H.O.R.T.U.S.

然后，我们便在英国建筑联盟学院位于伦敦的校区里设计了微型藻类城市建筑的第一个原型H.O.R.T.U.S.。该项目借鉴了园丁处理人类意愿和植物自然属性之间剧烈差异化的方式。园丁只是偶尔会去调和他对美的渴求与植物本身物理感知所具有的自然趋向性。吉尔斯·克莱门特，一个法国哲学家和景观建筑师，认为花园的形式化是生物信息改良并正规传递的一个过程，用我们的术语讲，叫作算法编程，而算法是引发控制生物多样性的园丁机器。

在H.O.R.T.U.S.这个项目中，我们将不同的高度、日照、水分和CO2含量数据进行记录，然后利用一些预设算法对微藻的生长进行干预，以促进不同种类微藻的生长；当然，植物生长本身是一个充满变量和不定因素的过程，在实验过程中需要对数据进行不断地读取、评估并以此来规划下一步的具体操作，或者说确定下一步针对微藻培育的编程方向。这些微藻花园的自主生长过程及对其所进行的美化干预过程之间相互交迭，循环往复；每个步骤都会产生出更多的差异性以及局部的复杂性，而这些生成的新结果反过来会被再次识别和培育；而对这整个生成过程的操控使得花园有潜力成为一个美丽的、健康的生物集群有机体；引用克莱门特的话：“现实总是且只有伴随经验才能诞生，无园艺工作亦无花园。”[2]

未来生物城市原型

H.O.R.T.U.S.和“城市藻类冠层”这一系列设计作品是ecoLogicStudio事务所对于微藻这一种生物材料及其未来集成演变成为生物城市的可能性的研究。它的基本建造单元是一个“生物反应堆”：即一个封闭的以藻类为主的生态圈。在这个生态圈里，藻类可以从城市环境中获取光、营养和CO2。初期阶段我们可以通过对这种“生物反应堆”的堆叠进而构建一面曲墙，将其作为界定分割空间、自主调节遮阳及释放产生O2的功能进行使用。我们设计的第一个原型作品便是被用作一个可自我调节的遮阳装置：原理是其吸收的阳光越多，藻类的生长繁殖迭代得越快，空间的遮阳效果越好。如果各个单元接收的光线变少，藻类的光合作用也会相应变少，于是墙壁的通透性便会增加。这种基于“实地条件”（例如，像墙体的具体布局以及“生物反应堆”中特定的微生态环境这种环境条件）的设计构成了建筑与城市生态之间的对话。而这种对话和互动的理念则是基于参观者呼出的CO2能够被“生物反应堆”吸收进而使得藻类繁茂的原理：藻类繁茂程度的不同会产生变化多端的光环境，也会影响到空气中的O2与CO2的比例，因而会形成同一组使用者可以持续影响到空间变化的结果。这个设计方案为我们展现了一种人类和城市中非人类生态系统之间和谐共生的关系。

随后的一系列设计范例开始在全球范围下建造展示；例如，在2008年威尼斯双年展上，作者研究了威尼斯潟湖的自然形成过程，并提出了一些可以增强其形成的方法策略。通过参考相应的人文和历史要素，作者设计了一整套“潟湖冷凝器”，它们分别作为该区域生态系统的孵化器、储存器及研究工具。这个设计作为从建筑尺度到城市景观尺度的飞跃，代表着对微藻园艺进行进一步突破性的大胆尝试，其将有可能成为未来城市设计的驱动力。

而首次展出于米兰2015世博会未来食品区的设计作品“城市藻类冠层”便是充分展现了这种抱负。在这个项目中，城市环境被描述成一系列的数字化操控区域。这些数字地图亦可谓数据图形提供了一些城市中关键指标参数（如空气污染和公共交通可达性）的可视化展示，使得人们能够直观地看到其在空间和时间上的变化幅度和强度。然后，这些地图信息进一步地演变并形成作为城市基础设施新生态系统的园林的设计原型。这些园林原型以不同的形式展现于不同的空间环境中；而这些环境中相关的社区也因为引入了这种理念的建筑及城市设计装置而被催生激活。这些装置通常会具有特定的性能，例如可以蒸发蒸腾、光合作用、碳封存等；并依据其功能将其设计成特定的材料组织构造或系统形式，如分支状、折叠状、编织状等。与此同时，设计作品中还植入了遥感控制的可能性，可以持续监测环境中的温度、pH值、辐射值、邻近度等。我们的设计促使了类似于这种生物数字化培育的新的城市设计方法的自发推广和迅速扩张，并以一种超越常理的、不可思议的方式推动着城市生产力的增长（因此称作为“网络园艺”）。在这种愿景下，城市化将会对自然起到增强效果而并非是对立效果。因此我们认为，城市栖息地有能力为非人类生命系统提供比野外环境更加先进的交流、互动及培育环境。

4-6 城市藻类冠层/Urban Algae Canopy by ecoLogicStudio

We then designed H.O.R.T.U.S., our first new prototype of micro algal urban architecture at the Architectural Association in London. The project reflected on how a gardener operates through a process of intensification of difference; his only chance to reconcile his desire of beautification and the natural expressivity of living processes resides in the movement, intended in its biological and physical sense; Gilles Clément, a French philosopher and landscape architect, suggests that the formalization of the garden becomes a process of formalized transmission of biological messages or, in our terms, of algorithmic coding; algorithms are for the gardener machines to breed bio-diversity.

In H.O.R.T.U.S. differences in height, insolation, moisture and CO2levels, are registered and then exploited by the project's algorithm to promote the growth of different microalgal species; also the growth, being itself a variable and partially unpredictable process, needs to be read, assessed and then considered in the formulation of future actions, or in the future lines of the gardening code. Te garden grows and beautification progresses in loops; each step generating more difference and local complexity that can be in turn recognized and bred; the management of this generative process is what makes the garden a potentially beautiful and healthy organism; in Clément's words: 'Reality is entirely contained within experience. Only. Without gardening there is no garden.'[2]

Prototypes for the future bio.City

The series of projects named H.O.R.T.U.S. and the Urban Algae Canopy are ecoLogicStudio's research into the living material of microalgae and its integration in the bio.Cities of the future. Its basic building unit is the 'bio-reactor': a contained ecosphere in which algae are supplied with light, nutrients, and carbon dioxide captured from the urban atmosphere. Initially the bio-reactors were stacked to build a curved wall, which performed roles of spatial definition, screening of light and release of oxygen. Te first prototype was conceived as a self-regulating shading device: the more sunlight absorbed, the greater the bloom of algae and the greater the screening of the space. Te less light each unit receives, the less photosynthesis occurs and the transparency of the wall increases. The 'found conditions' (environmental factors such as the layout of the wall and the particular micro-ecologies contained in the bio-reactors) become integral parts of the conversation between architecture and urban ecology. The concept of communication and interaction exploited the fact that visitors would exhale CO2into the bio-reactors, so that the algal bloom – and the variegated environment of light and oxygen created by it – was continually altered by the same people who occupied the space. This design solution introduced a symbiotic relationship between human and non-human urban ecosystems.

Subsequent prototypes were built and presented internationally; at the Venice Biennale 2008, the authors examined the natural processes of the Venice lagoon and suggested a number of ways in which these could be augmented. By referencing cultural and historical elements the authors designed a catalogue of 'lagoon condensers'; these acted as incubators, containers, and research tools for the ecology of the region. This jump in scale, from architecture to urban landscape, represents the continuing development of a provocative attempt to explore the potential of microalgal gardening as a future urban design driver.

7-10 2015米兰世博会未来食品区的城市藻类冠层/UrbanAlgae Folly for the Future Food District -Milan EXPO2015

因2015年米兰世博会而建造的城市藻类冠层目前在丹麦奥尔胡斯展出。该项目花费了6年的时间制作，是世界上第一个由软质ETFE（乙烯 -四氟乙烯）作为表皮材料且其中承载了螺旋藻和小球藻这类生命体的生物数字建筑。微藻进行光合作用的能力大概是大型树木的10倍，并且它们能够比饲养任何种类的动物更高效地提供植物蛋白质。我们开始意识到藻类物种如何能够变成高效的城市装置这个问题，然而目前藻类却被排除在城市景观配种的种类之外，因此也致使人们在盲目地青睐于性能差的城市森林的同时忽略了藻类的存在。

因此，我们建立了一个数字化增强版的栖息地来培育这些微生物，让它们作为人们融合自然和栖息地的新一层愿景。在这个栖息地中，实际上，微藻的生产能力在人类和非人类系统之间多次的干扰和相互作用过程中增强。城市藻类冠层这个创新构筑物源自于对ETFE这种材料的建筑表皮的改造升级。基于此，城市藻类冠层其实有可能提供一种不仅仅可以促进藻类生长，同时也可以确保使用者舒适度的理想环境。在日照强烈的夏天，微藻会生长迅速，从而增加建筑表皮的遮阳能力，进而提高人体的舒适度，而使用者的存在则会激活能刺激藻类产氧、吸光、生长的数字化调控系统。在任何时刻，城市藻类冠层所具有的透明度、颜色、反射率、声音以及生产力都是气候、微藻、人类及数字控制系统共生的结果。温度、pH值、湿度、与人类的邻近度及活动度这些的数据流会实时地反馈到调整藻类数量的数字“大脑”中。数字“大脑”能够自动模拟计算出微藻所具有的CO2的吸收能力、O2的生产能力和营养物质的产出能力，并以此为基础对相关的部分操作进行调整；而这局部的调整也将会反作用于整个反应链，进而影响到整个城市领域。这些抽象的具有调和作用、尺度不限的生物数字化过程是我们对自然本质的全新理解的核心，其超越了人类的知觉以及生物的界限。

总结

我们正在将原型进一步地发展成一个可以提供具有吸收城市有害气体并产出生物能这一特殊能力的城市和建筑尺度的系统。我们相信，任何关心可持续城市发展和试图设想未来生物城市的人们一定会摒弃对绿色建筑的旧观念，进而欣然接受这种能够以城市污染物作为饲料的高性能生物技术系统；微藻建筑可以将污染物转化为养料，并可以构建出一种新型建筑。这是一种可以一劳永逸地剥除城市如画般伪田园假象的建筑，并突破了原有的名副其实、徒有外表的城市森林的概念。因为它是一个将其材料、信息和高效运作过程都数字化提取到了一定程度的建筑，所以它可以产生一种新的机制进而引起城市新陈代谢的变革。我们将这种抽象的全维度的系统称之为“城市圈”，而我们的生物数字建筑则是构成该系统的工具。

Such ambition has been fully developed in the project Urban Algae Canopy first presented as part of EXPO Milan 2015, in the Future food district. In this project, the urban environment is described through a set of operational fields. These numeric maps or datascapes provide a visual description of the variation and intensity of key descriptor parameters, such as air pollution and public transport accessibility, in space and time. These maps were then evolved and designed into proto-Gardens, new ecosystemic urban infrastructures. The proto-gardens were visualized in a multitude of forms and spatial conditions; related social communities were catalysed by the introduction of these new prototypical urban and architectural devices. The devices are characterized by a specific set of performances such as evapo-transpiration, photosynthesis, carbon sequestration, etc.; they are engineered into specific material organizations or systems such as branching, folding, weaving and so on. They are also embedded with remote sensing and actuating potential, constantly monitoring Temperature, pH, radiation, proximity, etc. Our proposal enables a spontaneous and viral proliferation of new urban practices of bio-digital cultivation, contributing in novel and unexpected ways to an increase in the city's productivity (thus the term 'cyber-gardening'). In this vision, urbanity augments nature rather than being in antithesis to it. Te urban habitat, we contend, offers more evolved environments of communication, interaction, and cultivation of non-human living systems than the wild one does.

The Urban Algae Canopy was built for EXPO Milano 2015 and is currently due to be exhibited in Aarhus Denmark. Six years in the making, the Canopy is the world's first bio-digital architecture made of a soft ethylene tetrafluoroethylene (ETFE) skin and hosting living cultures of Spirulina and Chlorella. The ability of microalgae to photosynthesize is 10 times greater than that of large trees and they can produce vegetable proteins with far greater efficiency than any form of animal farming. We began to realize how algal species constitute exceptionally efficient urban mechanisms, which are currently excluded from the spectrum of codified urban landscapes and are therefore neglected in favour of less performative urban woods.

We therefore built a digitally augmented habitat to cultivate these microorganisms as part of a new expanded vision of inhabited performative public realm. In this habitat, the productive capabilities of microalgae are actually expanded by multiple levels of interference and interaction with other human and non-human systems. The innovative architecture of the Urban Algae Canopy originates from the evolution of the ETFE architectural skin system. In this instance, it has the ability to provide the ideal habitat both to stimulate algal growth and to guarantee visitors' comfort. On sunny summer days, the microalgae grow rapidly, thus increasing the shading potential of the architectural skin and improving human comfort. Visitors, by their presence, activate the digital regulation system, which stimulates algal oxygenation, solar insolation, and growth. At any given moment the effective translucency, colour, reflectivity, sound, and productivity of the Urban Algae Canopy are the result of the symbiotic relationship of climate, microalgae, humans, and digital control systems. Data streams of temperature, pH, humidity, and human proximity and activity are fed in real time to the digital 'brain' that adjusts the algae flow. Simulated predictions of CO2adsorption, O2production, and nutrient harvesting are computed and alter the relative local operational field; local changes trigger chain reactions that in turn affect the overall urban field. Tese abstract, mediated, and transcalar bio-digital processes lie at the core of our new understanding of the nature of nature, which extends beyond human perception and biological constraints.

Conclusions

We are currently developing the prototype further to deliver a full scale urban and architectural system with particular ability to adsorb urban air pollution and generate biomass energy. We believe that whoever cares about sustainable urban development and wants to envision the bio-City of the future must discard conservative views on green architecture and embrace high performative biotechnological systems that are capable of feeding on urbanity's dirty side; microalgal architecture turns pollution into nutrients, row material for a new kind of architecture. It is an architecture that once and for all removes urbanity from its picturesque and pseudo-rural dimension, goes beyond superficial metaphors of urban forests or woods. It is an architecture that embraces the digital abstraction of its material, informational, and energetic processes at a level where they are free to engender new mechanisms of transformation of the urban metabolism. We call this abstract systemic dimension the Urbansphere, and our bio-digital architectures are the tool for its synthesis.

/Reference

[1] Frei, Otto. Occupying and Connecting. Stuttgart: Axel Menges 2009: 111.

[2] Clement, Gilles. Il giardiniere planetario. Milano: 22Publishing, 2008: 66.

On the Origin of the Bio-Digital City

With this article, the authors introduce how new insights on processes of material and biological computation enabled by cutting edge digital design techniques will have radical effects in the way we conceive contemporary cities. On a scientific/technical level, the study of these process of material computation enables designers to go beyond descriptive computation, typical of conventional digital design; from the socio/cultural perspective the possibility to engage the evolving processes of living matter enables a deeper form of interaction with our surroundings; ultimately the potential is to turn any observer of a process into its codesigner. From these premises the article discusses the role of architecture in the context of the current ecological crisis and calls for a critical reading of the current new geological era, which scientists call the 'Anthropocene'.

digital design techniques, bio-digital city

伦敦大学学院巴特莱特建筑学院

2017-03-15