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.
With Ivry Confluences, located in a changing urban landscape featuring brownfield sites and eco-districts, PCA-STREAM is designing a symbol of the revitalization of the south end of Ivry-sur-Seine. In dialogue with the local industrial heritage, the studio reinterprets the morphology of railway halls to develop a new complex with exacting environmental standards. An exemplar of next-generation offices, Ivry Confluences takes an active part in adding to the vibrancy and diversity of the district thanks to its active base and an extensive garden that opens onto the city.
PCA-STREAM reinterprets Marbeuf, an emblematic Citroën garage from the 1930s, disfigured by successive transformations. The aim is to give it a new image and new uses by reinterpreting its original style, from its structure to the details of its fittings, translated by its interior design team.
Léonie Debrabandère is the Director of the WAAO, Lille’s architecture center, and curator of the exhibition “La ville tourne en rond?” How can we get away from anthropocentric, productivist logics and create a city that self-regulates, regenerates and recycles itself? The exhibition takes us on a semantic and tangible exploration of the circular city, allowing anyone to implement re-usable solutions on all scales.
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.
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!