Interior view to the Lobby . Image Courtesy of UNStudio
Incorporating the Environmental, social, and corporate governance objectives, the 45,000 m2 Office Tower in the Europaviertel in Frankfurt aims to be one of Germany's most sustainable office buildings. Designed by UNStudio in partnership with Groß & Partner in collaboration with OKRA landscape architects, the project focuses on environmental and social sustainability as an integral part of Frankfurt's green network. The ecological agenda includes a low-carbon load-bearing structure and recyclable construction materials. The architecture program offers a public urban space to add value to its surroundings to encourage communication and gathering.
Can you imagine a world in which the built environment around us is 3D printed from living materials? That buildings will germinate, bloom, wither, produce new kinds of material, and eventually return back to the soil? To Grow a Building is a performative lab space that 3D prints - in real time - a live structure. The project presents a new approach to integrating flora into the design process, by developing a novel material for 3D printing, through which seeding is an inseparable part of the fabrication process. To Grow a Building is a gate into a future world in which there are people who build buildings, and there are people who grow them.
Liam Young is a speculative architect, product designer, and director who operates in the spaces between design, fiction, and futures. Young specializes in designing environments for the film and television industry, harboring the belief that creating imaginary worlds grants us the ability to connect emotionally to the ideas and challenges of our future.
Following the centuries of colonization, globalization, and never-ending economic extraction and expansionism, humans have remade the world from the scale of the cell to the tectonic plate. Young suggests in a TED Talk, “What if we radically reversed this planetary sprawl? What if we, as humans, reached a global consensus to retreat from our vast network of cities and entangled supply chains into one hyper-dense metropolis housing the entirety of the earth’s population?"
Nature has continually played muse to architects. Colors and forms from the natural world find themselves embedded in artificial edifices. Buildings are also shaped by patterns of the wind and sun, topography, and vegetation. While architecture is informed by the effects of nature, buildings have been proposed as inert objects that remain static in a biologically evolving world. Anthropocentric concrete “jungles” are devoid of life, separating humans from natural environments and causing imbalances that have manifested as pandemics. What would cities look like if there were no boundaries between humans and ecosystems?
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Urban Sequoia Forests of Buildings Isolating Carbon & Producing Biomaterials . Image Courtesy of SOM / Miysis
With the magnitude and urgency of the immediate Covid-19 crisis worldwide, efforts have been concentrated on saving lives, rather than focusing on concerns related to the road to Net-zero carbon. Net Zero carbon in regards to construction is defined as when the amount of carbon emissions associated with the construction of a building and its completion is zero. A zero-energy building will have an overall zero net energy consumption; the total amount of energy used by the building annually is equal to the amount of renewable energy generated on-site.
As the climate emergency presents itself as a severe and existential threat, it is crucial that the road to net-zero carbon is resumed large-scale in both an architectural and commercial sense. Around the globe, efforts have been renewed in an attempt to tackle the almost inconceivable. According to the 2019 global status report for buildings and construction, the buildings and construction sector accounted for 36% of final energy use and process-related carbon emissions in 2018. Although carbon emissions were temporarily reduced during the peak of the pandemic, they are set to swiftly return to previous figures.
"I Draw on Paper, but I Prefer to Draw on the Ground". This phrase caught my eye during Diébédo Francis Kéré's speech at the AAICO (Architecture and Art International Congress), which took place in Porto, Portugal from September 3 to 8, 2018. After being introduced by none other than Eduardo Souto de Moura, Kéré began his speech with the simplicity and humility that guides his work. His best-known works were built in remote places, where materials are scarce and the workforce is of the residents themselves, using local resources and techniques.
The tech industry in Japan has continued to serve as a pivotal driving force in Japan, with the whole country being well known for its technological innovations in various industries. As of late, most industries and companies have begun to shift their focus to the topic of sustainable development, with the inclusion of using these very technologies to work towards zero energy goals.
PARKROYAL COLLECTION Pickering, designed by WOHA and Tierra Design. Image Courtesy of WOHA
Singapore as of late is continually building its reputation as a City in Nature, with Singaporean design long having a strong consciousness to acknowledge that green spaces matter. Urban planners and architects alike have taken a conscientious decision to weave in nature throughout the city as it continues to uproot new buildings and developments, incorporating the implementation of plant life in any form, whether it be through green roofs, cascading vertical gardens, or verdant walls.
This article will explore the pioneering actions taking place in Singapore to create a more biodiverse city and nation, and how this provides a view of how other major cities can adopt similar initiatives over the next decade to provide a blueprint for the future.
Taiwan proposes that architecture can transform a place, and to represent this idea, the work of Sheng-Yuan Huang and his practice, Fieldoffice, were chosen for the Taiwan Exhibition at La Biennale di Venezia in 2018, entitled Living with Sky, Water, and Mountain: Making Places in Yilan. Sheng-Yuan and Fieldoffice demonstrated that the notion of making places is more than building a physical space, but is equally about establishing a linkage between people, as well as people and their environment.
Alessandro Martinelli explores Sheng-Yuan and his colleagues at Fieldoffice as the avant-garde of a new architectural movement in his book, The City Beyond Architecture, which seeks to produce a new form of collective living through the lens of design and culture, touching on what the design culture of the majority of future urbanization could become. In the following, we will discuss Shen-Yuang's impact on Taiwanese architecture as he spearheaded the call to integrate and imagine public spaces that inhabited the capacity to structure a particular landscape to provide both social spaces and a sense of identity to its occupants.
The dawn of the Anthropocene has thrown the idea of adaptive reuse into the limelight: effectively the pinnacle of urban regeneration and revitalization. It utilizes the presence of existing buildings with historic and cultural value and re-purposes them to be functional. Essentially a form of architectural salvage; a sustainable and viable means of rebuilding.
Recent events such as the pandemic has highlighted inequalities in our cityscape, the inadequate segments in a state of disuse and disrepair. Adaptive reuse can replenish these areas and create new cultural hotspots, encouraging activity and creating vibrant and healthy mixed-use environments.
Below is a diverse selection of cultural hotspots using Adaptive Reuse
Arup reveals the competition-winning design for a 230m tall net-zero commercial tower in Hong Kong that embodies the city's aspirations to reach carbon neutrality by 2050. Taikoo Green Ribbon blends technology and nature to create an urban ecosystem sustaining a new generation of workplaces. Featuring a façade of curved PVs, hanging gardens, algae walls and various renewable energy sources, the project is a high-performance building slated to achieve carbon neutrality in less than a decade after construction.
At the Dutch Design Week, a house created entirely from bio-based materials aims to illustrate that circular design is not only feasible but a scaleable construction method for the future. Featuring 100 types of sustainable materials, The Exploded View Beyond Building is a concrete example of the possibilities of creating a circular living environment, bringing together substantial research into high-quality components fit for disassembly and modular design.
Researchers credit the Hanging Gardens of Babylon as the first examples of green roofs. Although there is no proof of its exact location and very little literature on the structure, the most accepted theory is that King Nebuchadnezzar II built a series of elevated, ascending terraces with varied species as a gift to his wife, who missed the forests and mountains of Persia, their local land. According to Wolf Schneider [1] the gardens were supported by brick vaults, and under them, there were shaded halls cooled by artificial irrigation of the gardens, with a much milder temperature than the outside, in the plains of Mesopotamia (present-day Iraq). Since then, examples of green roofs have appeared all over the world, from Rome to Scandinavia, in the most diverse climates and types.
Nevertheless, inserting plants on roofs is still viewed with suspicion by many, as they are thought to be costly and difficult to maintain. Others, however, argue that the high implementation costs are quickly offset with savings in air conditioning and especially that occupying the building's fifth façade with vegetation is, above all, a rational solution. In any case, the question remains as to how green roofs can really help with climate change.
Zero kilometer materials can be purchased locally, do not need to be transformed by large stages of industrial processing or toxic treatments and, at the end of their service life, they can be returned to the environment.
For example, wood from a nearby forest eliminates the need for long transfers, valuing local resources, and allowing architecture to lessen its environmental impact while committed to the landscape and context.
MVRDV has revealed the design of "De Oosterlingen", a series of seven sustainable residential buildings on Amsterdam’s Oostenburg Island. The proposed buildings are distributed in a 'barcode' composition, forming an apparent unified design but with an animated skyline and unique characteristics such as varying roof shapes and façades of wood, glass, recycled brick, and bio-based composite.
In a 2016 survey of 400 employees in the U.S., Saint-Gobain found that office building occupants commonly complained about poor lighting, temperature, noise, and air quality, leading the company to deduce a need for improved lighting and thermal comfort in buildings while also maintaining low energy consumption and freedom of design for architects and clients. Their solution was SageGlass, an innovative glass created first in 1989 and developed over the course of the past three decades. The glass, which features dynamic glazing protecting from solar heat and glare, simultaneously optimizes natural light intake. A sustainable and aesthetic solution, SageGlass’ adaptability to external conditions dispels the need for shutters or blinds.
https://www.archdaily.com/957605/more-daylight-but-less-glare-and-heat-how-does-automatically-tintable-glass-workLilly Cao
Nestled in the heart of Yuhang District, Bjarke Ingels Group’s design for the new OPPO R&D Headquarters, China’s largest smartphone company, combines aesthetics and innovative technology in a building that will be an environmental, economical, and socially sustainable hub for innovation.
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