Too often buildings end up as waste at the end of their lifecycle. How can the built environment move towards a circular economy, and in turn, reimagine how valuable materials are tracked and recycled? Looking to address this issue, material passports are one idea that involves rethinking how materials are recovered during renovation and demolition for reuse. The result is when a building is ready to be demolished, it becomes a storage bank for useful materials.
When we talk about vernacular architecture, we’re talking about an architectural style specific to a region – architecture that relies on the use of local knowledge and materials to construct buildings. It’s the Beehive Houses of Harran in Turkey, to the traditional Malay Houses found throughout southeast Asia. The vernacular architecture of various places continues to be a source of inspiration for contemporary architects, as they look to create sustainable architectural responses well-suited for their context.
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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.
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Every year, in the hot, dry town of Djenné in Central Mali, something special takes place – La Fête de Crépissage. Roughly translated to the “Day of Plastering”, this day sees the entire community of Djenné collaborate to reinforce the mud walls of the Great Mosque of Djenné – a UNESCO World Heritage Site and one of the African continent’s most distinctive architectural landmarks.
In his 1983 now-classic essay Towards a Critical Regionalism, Six Points of an Architecture of Resistance, Kenneth Frampton discussed an alternative approach to architecture, one defined by climate, topography and tectonics, as a form of resistance to the placeness of Modern Architecture and the gratuitous ornamentation of Postmodernism. An architectural attitude, Critical Regionalism proposed an architecture that would embrace global influences while firmly rooted in its context. The following explores the value and contribution of Frampton’s ideas for contemporary architecture.
Along with concerns about our environment, new movements, words, concepts, and terms related to these issues constantly emerge, which require us to always remain up to date. The word sustainability itself faced some resistance until it was incorporated into common vocabulary and used widely in the most diverse contexts. Currently, much discussion surrounds the terms circular economy, resilience, the 4 Rs, urban mining, and others. In addition, there are some sustainability-related movements that have been incorporated from activism in other fields, showing the fluidity of such issues. One such initiative is the 0 kilometer materials movement, which has been featured in manifestos and some projects, albeit timidly, in recent times.
Materials, products, and construction systems are constantly evolving and following new technologies, discoveries, and market trends. The question is: are we, as architects, evolving with them? We have heard about robots working on construction sites, responsive and intelligent materials and the continued rise of 3D printing, but is it all white noise at the moment of starting a new design? More importantly, could these new systems continue to progress without sensitively and effectively taking people's quality of life into account?