The most permanent and physical form of attachment is the foundation because it provides contact to and into the ground. Much like a construction drawing mediates between speculation and building, foundations are the threshold between proposal and site, which is of course never seen.
Foundations legitimize the fiction of placement.
The necessity for the house to resist earthquakes in Nepal, primary requires one foundation.
Site, becomes an initiator for identity shifting of the house.
A factory is a space of production, as much as it is a plane of production, within the construction drawing.
Within the default-grey, desert landscape, the culture of pre-fabrication imposes a form of locality.
From the existing non-site to the proposed masterplan drawing on the billboard, the context is constantly being edited.
On the moon, the form of attachment is the technical equipment that separates a pressurised interior to that of no atmosphere.
The house is but an imprint on the interior surface of the void.
Crossing Autoroute 25 in Montreal, the autonomous culture of the circus absorbs the house.
The house is irrelevant here, because in the event of flooding in places such as Bangladesh, it is these amphibious foundations that allow livable conditions. They are designed to follow the rise and fall of the water using foam blocks for buoyancy.
