The growth in energy consumption and the obsolescence of our infrastructures suggest that by 2030, we’ll have a stock of 60,000 tonnes of end-of-life wind turbines per year. To absorb this material on an industrial scale, we need to invent new ways of producing, consuming and building. With this in mind, the La Paletière project aims to reuse turbine blades – composite materials with multiple properties – by turning them into roofing elements.
France has the 4th largest forest area in Europe, yet 40% of its timber is imported. At a time when Google’s London headquarters, designed in 2016 with a solid wood structure, has still not been delivered, and when the tallest wooden tower is due to be built in Tokyo in 2028, reaching a height of 100 metres, where does France stand in relation to wood? The RE2020, through the dynamic life cycle analysis, encourages the use of bio-sourced materials to promote the storage of biogenic carbon in buildings. The SNBC is explicitly banking on this sector to achieve its 2050 targets. However, the Paris Fire Brigade doctrine published in 2021 greatly complicates its use in architecture. How can these contradictions be overcome?
Although soil is used as a building material in many parts of the world, it has often been regarded as a waste product in France in recent decades, with little use being made of excavated soil. However, its thermal and hygrometric properties, its extremely low carbon footprint when used raw, its abundance and the natural variations in colour that it offers in every region make it a rich and inspiring material for today’s architects and designers. How can we adapt our building techniques to bring this material into line with contemporary requirements, and get rid of the vision of primitive housing that it still evokes for many people?
Discover the inaugural lecture of the “Alma Matter” series! In a world where the myth of abundance is collapsing, this series of lectures looks at what matter really has to offer. Actors, professions, economies, temporalities, geopolitics: how do contemporary issues of creation take shape through those of matter? Each talk focuses on a particular material, and brings together its stakeholders in a dialogue. The use of stone in construction declined during the twentieth century. Today, its return is acclaimed for its qualities: inertia, durability, low-emission processing, local presence… but what techniques and applications will be used in 2024? As part of the City Metabolism Chair supported by the Université Paris Sciences & Lettres.
In France, the construction sector accounts for one third of the country’s CO2 emissions. Materials, which are partly responsible for this ratio, are extracted, transported, processed, poured or placed, dumped or incinerated… All these steps are opportunities to work on limiting impacts, involving architects, among other things, in deploying a new aesthetic.
Maximum is a design studio that maximizes the value of waste; its material, its form and its engineering. Some materials are transformed in a semi-industrial process while others give birth to unique pieces, such as the glass walls of the Centre Pompidou caterpillar.
In this interview filmed at the AIA Architecture Centre in New York, Michael Speaks, Dean of the School of Architecture of Syracuse, talks about the Design Energy Futures program that focuses on low-carbon planning and products. It aims to analyse datas in order to conceive scenarios of plausible futures and thus offer a better planification for urban expansion.
Designing an inclusive city implies involving their residents in urban projects, but what is the role of architects and urban planners in this process? For Andrew Freear, the head of the Rural Studio program, they both have the ethical responsibility of getting locally involved via concrete projects. Architectural schools must thus take on training citizen architects by engaging them in learning by doing, and thus have them redevelop a deep connection with context and places, acting as neighbors and activists within communities in order to collectively carry out experimental projects that tangibly improve society and the environment.
The two Lebanese artists and filmmakers were awarded the 2017 Marcel Duchamp Award for Unconformities, a project currently on display at Hamburger Bahnhof in Berlin. This artwork, like their approach, is based on a methodology of investigation and excavation and aims to offer another reading of history and the traces of the past.
Nicolas Nova is a social anthropologist. Inspired by New Media Studies and design fiction, he contends that the future of design lies in recycling and reparation as well as reinventing forms and functions. Did you know that a used flip-flop could serve as a lighter?
The geographer and orientalist Augustin Berque revisits the polysemic dimension of the term “milieu,” and explains the distinction made by mesology—“the area of biology that deals with the relationships between the environments and organisms”—between “environment” and “milieu.” The reality of things differs depending on the environment of each species or culture, the object doesn’t exist in itself but according to its relationship with the subject. In this way, mesology goes much further than the subject/object dualism of modern science. Ontologically “trajective,” the environment is neither objective nor subjective, but firmly between the two theoretical subject/object centers. Berque takes the term “mediance,” meaning the dynamic coupling of the individual and their surroundings, from the Japanese “fūdo,” to which he adds “trajection,” a process that results in the “mediance” of human existence in its concrete surroundings. Taken as a whole, all human environments, distinct from the biosphere through their eco-techno-symbolic dimension, form the ecumene. For architecture, this implies a respect for history and the environment, without mimicking ancient forms, creating from the “mediance” of each place.
Larissa Fassler is a “Neo-Situationist” artist. By exploring places over the course of many hours, she gleans their ephemeral essence, which she then superimposes on the fixed urban master plan. The subjective maps thus generated highlight both urban narratives and history.
Maximum is a design studio that maximizes the value of waste; its material, its form and its engineering. Some materials are transformed in a semi-industrial process while others give birth to unique pieces, such as the glass walls of the Centre Pompidou caterpillar.
stream voices
Eager to share more generously the results of its collaborations and research, PCA-STREAM publishes STREAM VOICES, its online magazine!