Christo and Jeanne-Claude
The Gates, Central Park, New York City, 1979-2005
The 7,503 gates, 16 feet (4,87 meters) tall varied in width from 5 feet 6 inches to 18 feet (1,68 to 5,48
meters) according to the 25 different widths of walkways, on 23 miles (37 kilometers) of walkways in Central Park. Free-hanging saffron colored fabric panels, suspended from the horizontal top part of the gates, came down to approximately 7 feet (2,13 meters) above the ground. The gates were spaced at 12 foot (3,65 meter) intervals, except where low branches extended above the walkways. The gates and the fabric panels were seen from far away through the leafless branches of the trees. The work of art remained for 16 days, then the gates were removed and the materials industrially recycled.
The 5 inch (12,7 cm) square vertical and horizontal poles were extruded in 60 miles (96,5 km.) of saffron-colored vinyl. The vertical poles were secured by 15,006 narrow steel base footings, 613-837 pounds (278-380 kilograms) each, positioned on the paved surfaces. No holes were made in the ground.
The components of The Gates were fabricated off-site by seven manufacturers located on the East Coast of the USA. The weaving and sewing of the fabric panels were done in Germany.
Frictionless binding or snaplock binding is glue free packaging method that requires manually assembled, yet it's said to be more environmental friendly than its traditional counter part. One website I found useful for reference is Imperial Printing and Paper Box Mfg. Co. hompage. Here is one of their example. 
The second one is just something else I found on the internet from another company.
Christo and Jeanne-Claude
meters) according to the 25 different widths of walkways, on 23 miles (37 kilometers) of walkways in Central Park. Free-hanging saffron colored fabric panels, suspended from the horizontal top part of the gates, came down to approximately 7 feet (2,13 meters) above the ground. The gates were spaced at 12 foot (3,65 meter) intervals, except where low branches extended above the walkways. The gates and the fabric panels were seen from far away through the leafless branches of the trees. The work of art remained for 16 days, then the gates were removed and the materials industrially recycled.
earance and golden sandstone i
n color.
Located in a quiet residential neighborhood in the suburbs of Osaka, the small Christian church made of silky smooth concrete sits modestly within its environment. The communal church consists of two rectangular volumes that are both cut at a 15 degree angles by freestanding concrete walls. One indirectly enters the church by slipping 
between the two volumes, one that contains the Sunday school and the other that contains the worship hall.
the altar, from a cruciform cut in the concrete wall that extends vertically from floor to ceiling and horizontally from wall to wall, aligning perfectly with the joints in the concrete. From this cruciform shape an abstract and universal light seems to be floating on the concrete wall, its rays extending and receding over time with the movement of the sun. Light is also permitted to seep into the interior from the slicing of the volume by the freestanding concrete wall. The darkness of the chapel is further accentuated by the dark and rough-textured wood of the floor planks and the pews which are built out of reused wood used during construction as scaffolding.
