Sustainable Architecture: The Latest Architecture and News

The first Monday of October of every year marks World Architecture Day and World Habitat Day. Celebrated simultaneously, they both seek to shed light on the built environment and its challenges, taking on a different theme with each new edition. This year, through its World Architecture Day, the UIA is focusing on “Architecture for well-being”, in line with the designation of 2022 as the UIA Year of Design for Health in buildings and cities. In parallel, the UN’s World Habitat Day, is centered on “Mind the Gap. Leave No One and Place Behind”, looking at the problem of growing inequality and challenges in cities and human settlements, due to the triple ‘C’ crises – COVID-19, climate and conflict.

Introducing Urban October, 31 days to promote a better urban future, World Architecture Day and World Habitat Day push forward the debates on urban sustainability. Joining the conversation every year, ArchDaily takes part in this occasion by promoting content that tackles the main objectives of this day, raising awareness, presenting solutions, engaging the international community, and “empowering everyone who makes architecture happen to create a better quality of life”.

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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.

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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.

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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?"

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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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This article was originally published on Common Edge

Steven J. Orfield's firm, Orfield Laboratories (OL), has spent 50 years in architectural design, research, and testing, dedicated to the premise that what matters in design is the end user, because design in the absence of user comfort, preference, and satisfaction is a failure. In this process, the firm has developed building performance standards for most commercial building types, and has now added to those standards the requirements for half of the world: people who are perceptually and cognitively disabled (PCD). The expense in doing this has been significant, but it has been one of the most important quests in Orfield's life.

Charles Darwin's theory of natural selection sought to explain the origin and survival of species on the planet. In short, it points out that the fittest organism survives and can reproduce itself, perpetuating useful variations for each species in a given place. Adaptation is, therefore, a characteristic that favors the survival of individuals in a context. In the construction world, we could draw some parallels. Could adaptation be an important quality to increase the useful life and efficiency of a building over time, considering the changes and demands of society, as well as technologies and lifestyles?

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The Zero Carbon policy is intended to create a kind of ecological balance to neutralize greenhouse gas emissions. Several studies report that the construction sector is one of the main responsible for the unbalance in which we find ourselves today, after all, it consumes natural resources on a gigantic scale and still builds buildings that do not collaborate with the maintenance of the environment. Therefore, searching for paths towards a carbon neutral architecture has become fundamental and one of them is learning from past masters, such as the Brazilian architect João Filgueiras Lima, known as Lelé.

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Videos

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.

In April 2014, the Japanese government approved an energy policy to encourage Zero Net Energy Houses (ZEH) to become the standard for new house construction by 2030. Zero energy housing is designed to consume as much energy as it can create using renewable energy on-site.

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When talking about energy efficiency in buildings, it is inevitable to mention thermal insulation. We rarely see it in a finished building and, even in the technical drawings, the insulating layer appears as a thin hatch. But this is an element that is of vital importance, as it acts as a barrier to the flow of heat, hindering the exchange of energy between the interior and the exterior, reducing the amount of heat that escapes in winter and the thermal energy that enters in the summer. In a building with good thermal insulation, there is less need for heating to keep the house at a pleasant temperature, also reducing its carbon footprint. Currently, there are many countries that require a minimum level of thermal insulation for buildings, with increasingly strict parameters. But how should this issue be dealt with in the near future, with the worrying climate crisis forecast?

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.

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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.

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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

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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.

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Today, drywall and gypsum-based systems are currently present in almost all architectural works. These allow you to coat buildings with products that combine, among other attributes, construction ease, fire safety and the possibility of recycling, both in historic structures or completely new constructions. Since 1998, Saint-Gobain - one of the largest distributors of these types of systems - has awarded the projects that best apply them in their solutions, dividing them into 6 categories (Ceilings, Plaster, Plasterboard, Innovation & Sustainability, Residential, and Non-Residential). The submitted projects are meant to demonstrate how the architects managed to ingeniously unite the company's products with innovative solutions to overcome each of the difficulties that the works or contexts impose.

In its 12th edition, participants came from 30 different countries and showcased 74 projects. See the 14 awardees below: