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                        <loc>https://doingalmostnothing.cargo.site/preface</loc>
            
            
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                        <loc>https://doingalmostnothing.cargo.site/where</loc>
            
            
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            <url>
                        <loc>https://doingalmostnothing.cargo.site/where-it-began-1</loc>
            
            
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Official marketing visualisation for Project FURST, Berlin. Image courtesy of PROJECT FURST.

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            <url>
                        <loc>https://doingalmostnothing.cargo.site/where-it-ended</loc>
            
            
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            <url>
                        <loc>https://doingalmostnothing.cargo.site/where-i-stand</loc>
            
            
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/N3048600330197369950700080342350/Ryuichi Sakamoto playing in Rikuzentakata Daiichi Junior High School</image:loc>
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            <url>
                        <loc>https://doingalmostnothing.cargo.site/where-i-follow</loc>
            
            
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&lt;a href=&quot;https://freight.cargo.site/m/B2250012084801119801874693104974/Site-A3.pdf&quot;&gt;&lt;b&gt;WuMo&lt;/b&gt; by Wulff &amp;#x26; Morgenthaler.&lt;/a&gt;&lt;br /&gt;

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&lt;a href=&quot;https://freight.cargo.site/m/B2250012084801119801874693104974/Site-A3.pdf&quot;&gt;&lt;b&gt;WuMo&lt;/b&gt; by Wulff &amp;#x26; Morgenthaler.&lt;/a&gt;&lt;br /&gt;

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                    <image:loc>https://freight.cargo.site/t/original/i/U3048614171158383336450848859470/A4_Page_07.png</image:loc>
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A deliberate 2.5-meter recession of the construction hoarding carves out a liminal threshold—an interstitial zone that dissolves the binary between exclusion and access. This spatial incision transforms the site’s periphery into a &lt;i&gt;social condenser&lt;/i&gt;, inviting pedestrians to linger, gather, or observe. The gesture critiques traditional site boundaries, reimagining barriers as invitations .&lt;br /&gt;

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                    <image:loc>https://freight.cargo.site/t/original/i/A3048617709170109697648010601806/Landscape-Choice.jpg</image:loc>
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The plants are meticulously curated not for visual spectacle, but as a multisensory intervention: their scent, seasonal fruit, and tactile presence dissolve the building’s monolithic dominance. Here, architecture recedes, foregrounding the intangible—whispers of jasmine, the unassumingly picked fig, the ephemeral act of gathering.&lt;br /&gt;&lt;br /&gt;

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Luxury boutiques wield gilded interiors and monolithic mirrors to stage exclusivity—spaces designed to dazzle the select few who cross their thresholds. Yet what if we weaponized their antithesis? Imagine hoarding boards, those raw, provisional skins of urban transition, repurposed as radical invitations.&lt;br /&gt;

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Photo of Chanel luxury store, taken by &lt;a href=&quot;https://commons.wikimedia.org/wiki/User:Slimark&quot;&gt;Marek Śliwecki&lt;/a&gt; .&lt;br /&gt;
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                    <image:loc>https://freight.cargo.site/t/original/i/X3048622014068327435172361676110/A4_Page_05.png</image:loc>
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The LV store, credit to &lt;a href=&quot;https://commons.wikimedia.org/wiki/User:Slimark&quot;&gt;Marek Śliwecki&lt;/a&gt; .&lt;br /&gt;

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            <url>
                        <loc>https://doingalmostnothing.cargo.site/where-i-drew</loc>
            
            
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                    <image:loc>https://freight.cargo.site/t/original/i/F3048626515405922813629727909198/BFP.jpg</image:loc>
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Retaining only essential Mechanical &amp;#x26; Electrical (M&amp;#x26;E) infrastructure, the space is conceived as an acoustically tuned void—a mutable, unprogrammed volume dedicated to immersive sensory experiences. Its emptiness is intentional: a stage for film screenings, sound installations, or experimental performances, curated to evolve with Berlin’s shifting cultural pulse.&lt;br /&gt;

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                    <image:loc>https://freight.cargo.site/t/original/i/W3048627173143029505817500329294/GFP.jpg</image:loc>
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The floor is sculpted into a terraced topography of soil, curated to host distinct vegetal microclimates—a living laboratory where elevation shifts spawn biodiversity. This undulating landscape embodies the scheme’s ethos of adaptive iteration, evolving with seasonal cycles and botanical discoveries.&lt;br /&gt;
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                    <image:loc>https://freight.cargo.site/t/original/i/Y3048627374526134558504675321166/1FP.jpg</image:loc>
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Floors remain strategically unprogrammed—open fields of programmatic indeterminacy where future uses might root. Tactically fixed elements (service cores, mechanical nodes) anchor the scheme, their rigidity enabling the surrounding voids to adapt across time.&lt;br /&gt;

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Circular voids are incised vertically through the slabs, forming shafts that puncture the &lt;i&gt;Vertical Schism&lt;/i&gt;—a tectonic rift in the building’s mass. What flows through these voids? Sound? Rain? Bodies in freefall? My grades when my tutor sees this?&lt;br /&gt;

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                    <image:loc>https://freight.cargo.site/t/original/i/W3048628219202545693665043817806/3FP.jpg</image:loc>
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                        <loc>https://doingalmostnothing.cargo.site/where-i-plan</loc>
            
            
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                    <image:loc>https://freight.cargo.site/t/original/i/P3048637117376931273015166379342/Building-Trajectory-Committee.png</image:loc>
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                        <loc>https://doingalmostnothing.cargo.site/where-i-imagine</loc>
            
            
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The elevation facing the main road rejects formal facadism, its skeletal structure swathed in provisional plastic mesh—a raw, unapologetic counterpoint to Kurfürstendamm’s polished commercial veneer. This intentional anti-facade reframes the building’s identity: not as a static icon, but as an &lt;i&gt;urban threshold&lt;/i&gt;.

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                                            <image:caption>

The elevation facing the main road rejects formal facadism, its skeletal structure swathed in provisional plastic mesh—a raw, unapologetic counterpoint to Kurfürstendamm’s polished commercial veneer. This intentional anti-facade reframes the building’s identity: not as a static icon, but as an &lt;i&gt;urban threshold&lt;/i&gt;.

</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/Z3048641398847784036928386901326/Outcome.png</image:loc>
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                    <image:loc>https://freight.cargo.site/t/original/i/N3048641491136844637697273636174/Outcome2.png</image:loc>
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                    <image:loc>https://freight.cargo.site/t/original/i/S3048643140958294358058441516366/Outcome3.png</image:loc>
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                    <image:loc>https://freight.cargo.site/t/original/i/Y3048648024512426943777717232974/A3.Rev01_Page_1.jpg</image:loc>
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                        <loc>https://doingalmostnothing.cargo.site/where-i-stop</loc>
            
            
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            <url>
                        <loc>https://doingalmostnothing.cargo.site/where-i-thank</loc>
            
            
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A group photo with the entire “to be continued” Studio I. Starting from the left: Basuoney, Kunal, Me, Alperen, Tobias Rabold (guest critic), Philip Rieseberg (studio master), Tarek Massalme (guest critic), Oscar, Kim, Ramsha, Alberto, Esther and Neil.&lt;br /&gt;

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            <lastmod>2026-07-24T10:37:38+00:00</lastmod>
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            <url>
                        <loc>https://doingalmostnothing.cargo.site/backdrop-1</loc>
            
            
            <lastmod>2026-07-24T10:48:18+00:00</lastmod>
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