Increasing urbanization, excessive waste production, excessive consumption of material goods, and exploitation of natural resources. There are many factors that contribute to the environmental impact of humans on Planet Earth. Scarcity of raw materials and the use of non-renewable resources is already the reality of some locations, and nature can no longer reclaim renewables at the same pace as it is exploited. The impact of human activities is so remarkable that scientists have pointed out that we are living in the new geological age of the Anthropocene (the Greek word for “the recent age of man”). The construction industry in particular is a major resource consumer and waste generator. In the European Union, the construction and use of buildings represents about 50% of all resource extraction and energy consumption, and about one third of all water consumption. [1] In 2014, 52% of all waste was attributed to the construction sector. [2].
Ladder Street Cultural Space. Image Courtesy of Francesco Rossini
As we near its 100th anniversary, expanded polystyrene (EPS) has become widely used in various industries and applications, especially in construction. Since 1970, EPS has been used in building construction due to its thermal insulation properties, lightweight closed-cell structure, durable strength, and long-term integrity. However, while these qualities make it highly useful and easy to recycle, they have also sparked debate due to recurring discussions about its degradation processes and environmental impact from various perspectives.
While the debate rages on, many improvements and alternative approaches have emerged around this material, highlighting that achieving sustainable construction involves using the right material for the right job from the outset. Thus, over time, innovations have brought new options for the recycling and use of EPS beyond traditional building applications such as infill blocks or partition panels. This demonstrates that rather than stigmatizing it as a problematic or “simple” material, it is essential to consider its qualities through design, technology, and developing methods for responsible and sustainable management.
https://www.archdaily.com/1018325/how-are-innovations-changing-expanded-polystyrene-epsEnrique Tovar
RUÍNA Arquitetura aims for greater socio-environmental awareness and the appreciation of materials while advocating for reuse as an alternative within the construction industry. In their practice, they explore new avenues for reclaimed materials, diminishing demolition waste and supplying construction materials with a reduced environmental footprint. In 2024, they were selected as part of ArchDaily’s 2024 Best New Practice for their unique attention to context, aiming to minimize its impact on the built environment through the effective reuse of materials and construction waste. Their participation in the 2023 Sharjah Architecture Triennale exemplifies how local ideas can achieve global recognition.
Plastic Island. Image Courtesy of Emily-Claire Goksøyr
As you read this, you may notice that you are surrounded by several items made of plastic. This omnipresence is no coincidence; the versatility of plastic has made it suitable for a variety of applications, and was described by its inventor—Leo Baekeland— as “the material of a thousand uses.” However, when it comes to environmental impact, the problem lies in its very qualities: it is so durable, adaptable, and easy to produce (430 million tons per year) that, according to UN data, the equivalent of 2,000 garbage trucks full of plastic are dumped into the oceans, rivers, and lakes every day.
In the built environment, plastic has been incorporated into various materials, products, and construction systems, contributing to an environmental crisis that seriously affects the well-being of millions of living beings. Faced with this problem, one possible direction is to shift away from utilizing it. The search for plastic-free alternatives is marking a path toward a future where architecture is progressively disassociating itself from these polluting materials, promoting sustainable solutions that reduce our dependence on it and contribute to preserving the environment.
https://www.archdaily.com/1016334/making-the-case-for-plastic-free-architecture-innovative-solutions-for-the-present-and-futureEnrique Tovar
Shigeru Ban Architects, in collaboration with The Glass House and The Irwin S. Chanin School of Architecture of the Cooper Union, have just revealed “Shigeru Ban: The Paper Log House at The Glass House.” This collaborative installation opened on April 15th and is on display until December 15th, 2024, welcoming more than 13,000 annual visitors. This year, students from The Cooper Union actively participated in the making of this structure as part of the university’s Building Technology Course.
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Turning waste into beautiful flooring. Image Courtesy of Bolon
In contemporary architecture, recycling has evolved from a desirable to an unavoidable necessity. This change is mainly due to the growing climate crisis, accentuated by the constant presence of waste (for which no use has been found beyond the initial one).
This approach has stimulated the creation of innovative materials to reuse waste in various contexts. A notable example is the case of woven flooring and rugs, where Bolon took a step forward in 1949 by transforming textile waste into stylish products. Since then, they have continued to innovate in materials, fusing the traditional flooring branch with sustainable creative design.
https://www.archdaily.com/1014951/walk-on-waste-weaving-waste-into-stylish-floorings-and-rugsEnrique Tovar
For a long time, the construction industry has followed a linear process - extract raw materials, build structures, demolish them, and then dispose of the garbage in landfills. This approach has serious negative effects on the environment and society and is inherently unsustainable. Reconsidering traditional methods and workflows requires support from all stakeholders and a sense of urgency proclaimed by authorities. In the United States, city organizations have begun to implement new policies to keep construction waste out of landfills and support circular practices. Several cities like Seattle and Pittsburgh, have started implementing deconstruction ordinances that require older buildings to be carefully deconstructed rather than demolished. How might their key provisions influence circular practices in the country?
Centered on the development of architectural projects in favelas and peripheries, the work of Coletivo LEVANTE showcases a deep sensitivity to the unique characteristics and nuances of these environments. According to the group, "the recognition of what already exists and is attributed with values lived and earned by the favela residents — landscapes, constructions, identities, and relationships" is what they seek as the raw material for their projects. This approach is evident in projects such as Centro Cultural Lá da Favelinha and House in Pomar do Cafezal, winner of the 2023 Building of the Year Award by ArchDaily.
“Landscape architects have started conversations about embodied carbon. There is a realization that we can no longer ignore the grey parts,” said Stephanie Carlisle, Senior Researcher, Carbon Leadership Forum and the University of Washington, during the first in a series of webinars organized by the ASLA Biodiversity and Climate Action Committee.
The grey parts are concrete, steel, and other manufactured products in projects. And the conversations happening are laying the foundation for a shift away from using these materials. The landscape architect climate leaders driving these conversations are offering practical ways to decarbonize projects and specify low-carbon materials.
For a small child, understanding the concept of time and its passage is very difficult. As a result, children are often impatient when expecting something or confused when trying to remember something from the past. They live in the present, and learn the notion of time only little by little. But accepting the passage of time, and the reality of aging, is something that plagues us even as adults. The lucrative cosmetic and plastic surgery industries show how humanity seeks to control or deny the passage of time, an urge that has proved to be relentless.
A vital aspect of a circular economy lies in shifting our view of waste. Labeling an item "waste" implies voiding its value and ending its useful role in a traditionally linear economy. While the item might be out of sight and out of mind, its life continues in the landfill. This shift in perspective regarding waste means opening our minds to the opportunity that the abundance of junk presents. These designers and architects have managed to not only effectively reclaim discarded objects but also to make them look precious, imbuing them with new meaning and value through their careful curation.
In the global context, the first factories emerged in the latter part of the 16th century, primarily housing typographic workshops. Over time, their purposes expanded to include carpentry, tapestry, and porcelain workshops. However, the recognizable form of industrial buildings we see today only took shape in the 18th century, closely tied to the transformations brought about by the Industrial Revolution. The shift from human labor to machinery fundamentally altered the scale of these structures, turning them into expansive warehouses.
In light of the looming climate crisis and the pursuit of sustainability, the concepts of revival and reuse have emerged as crucial strategies in the quest for decarbonization in the architecture industry. These principles preach that creating new structures may be sustainable but encourage architects to minimize their ecological footprint by reactivating and recycling existing resources. This year specifically, innovative projects in line with these themes were displayed as part of the 18th International Architecture Exhibition – La Biennale di Venezia. This world-renowned event’s core purpose is to serve as a platform for architects, designers, and thinkers to collectively reimagine sustainability, decarbonization, resource conservation, and the industry's future.
Irene Roca’s “Appropriating the grid” project is born out of the contemporary ruins of our current construction processes. An exploration of the waste that is generated and the legal complexities of discarding this waste awakened a sense of urgency and creativity in the architect, resulting in a collection that molds and re-formulates construction waste into versatile interior design objects.
https://www.archdaily.com/963957/materials-are-being-produced-according-to-fictitious-demand-in-conversation-with-irene-rocaDaniela Porto
The role and relationship of furniture in architecture and space design are of great relevance. Designers such as Eileen Gray, Alvar Aalto, Mies Van der Rohe, and Verner Panton conceived furniture —primarily stools and chairs— that endure over time as powerful and timeless elements, with a determining impact on the interior atmosphere. Thus, the relationship between furniture and space becomes a constant dialogue in which design, aesthetics, and materials contribute their dimension.
Today, furniture should not be limited solely to fulfilling an aesthetic and functional role, but should also have a purpose in the context of contemporary design and sustainable development. It is essential to reflect on and question the processes and choice of materials in the manufacturing of these elements, in addition to the value they bring to interior spaces. In this context, HEWI has taken a step forward by creating the Re-seat family, consisting of stools and chairs made from post-industrial recycled materials (PIR), sourced in part from the processes of the company itself and a regional supplier, both based in Bad Arolsen, Germany. It also features integrated solutions with universal design in mind, making a statement in favor of innovation and eco-design.
https://www.archdaily.com/1007326/re-purposing-materials-from-post-industrial-recyclate-to-accessible-furnitureEnrique Tovar
Kengo Kuma uses materials to connect with the local context and the users of his projects. The textures and elementary forms of constructive systems, materials, and products, are exhibited and used in favor of the architectural concept, giving value to the functions that will be carried out in each building.
From showcases made with ceramic tiles to the sifted light created by expanded metal panels, passing through an ethereal polyester coating, Kuma understands the material as an essential component that can make a difference in architecture from the design stages. Next, we present 21 projects where Kengo Kuma masterfully uses construction materials.
The circular economy concept became more defined in 1990 when it appeared in the article Economics of Natural Resources and the Environment, by British economists and environmentalists David W. Pearce and R. Kerry Turner. At the time, the main purpose of the research was to demonstrate that the traditional economy did not incorporate recycling. In this way, the environment assumed a secondary role, just like a simple waste reservoir. Therefore, the circular economy would gain strength as an opposition to the linear (or traditional) economy, in which the production chain motto is “extract, produce and discard”. A model deeply rooted in our economy that has become unsustainable for several reasons, like the depletion of natural resources and the contamination of the environment resulting from production and disposal.
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.jpg?1558730231 "Green Cast / Kengo Kuma & Associates. Image Courtesy of Kengo Kuma and Associates")
