Urban Hub33-Architecture&Change

IntegralUrbanHub Architecture & Change Urban Hub 33 a meta-pragmatic approach Thriveable Worlds integralMENTORS Urban Hub Architecture & Change Integral UrbanHub Thriveable Worlds 33 Paul van Schaik Context Main-structure theory Pattern Language The Nature of Order Regenerative Architecture Circular Economy Architecture Cradle to Cradle Architecture Resilience Cities Resilience Architecture Recyclable Architecture Biomimicry Architecture Biophilic Architecture Bionic Architecture Dynamic Architecture Material Ecology Container Architecture Organic Architecture Burrell Collection This book is ‘tastes’ of ideas, theories, graphics, praxis, and quotes, to spark interest for further explorations Best explored with the previous volumes in the series: People do not perceive worlds but enact them. Different mindsets bring forth different worlds. What is this series? A collection of visions, ideas, ideas, theories, actions, etc. that give rise to a taste of the many visions in our world. How we use all the best elements of the many worldviews, modern and ancient, visible and still hidden, together and in collaboration, will define how successful we are. It is the morphogenetic pull of caring that will determine how we succeed as a human race. It is the ability and need to generate an equitable, fair, resilient and regenerative ‘system’ that must drive us forward. The means will be a combination of many of the ideas showcased here but many more still to be discovered on our exciting journey into the future. Held together through a Integral Mythological Pluralistic approach. In order to find your way you must become lost generously lost it’s only when you are lost that you can be found by something greater than you Bayo Akomolafe Sharing and listening to stories, philosophies, cosmologies and metaphysical understanding of each other and through experimentation, research and archology developing theories, praxis, and activities/interventions to move towards a more caring world of people, cultures, caring for the planet and systems of which are all a part. Too little courage and we will fail – too much certainty and we will fail. But with care and collaboration we have a chance of success. Bringing forth emergent impact through innovation, syngeneic enfoldment & collaborative effort. A deeper understanding of a broader framework will be required – this would be more that an integral vision and beyond the Eurocentric AQAL & SDI. Explore and enjoy – use as many of the ideas as possible (from the whole series) enfolding each into an emergent whole that grows generatively. At each step testing – reformulating – regrouping – recreating. Moving beyond, participating, through stake-holding, through share-holding, to becoming thrive-holders. Other Worlds Walking in the world not talking of the world No one vision is sufficient in and of itself – visions can guide but only by collaborative action in a creative generative process can visions grow and become part of an ongoing positive sociocultural reality. Without taking into account the many worldviews that currently co-exist and crafting ways of including them in a positive and healthy form we will continue to alienate vast sections of all communities and humankind. It is through the cultivation of healthy versions of all the different worldviews that we can attempt to move towards an equitable, regenerative and caring world living within the planetary boundaries. Through action we will move forward – through only ongoing talk we will stagnate and fail. These curation are to be dipped into – explored and used to generate ideas and discussion. A catalyst for collaboration and action. And most importantly grown, modified in a generative form. For more detail of integral theory and Framework see earlier books in this series. This is a living series - any suggestions for inclusion in the next volume send to: [email protected] Dan Gluibizzi ”Changing the world" - ”Changing ourselves." Bayo Akomolafe There are two immensely popular and presumably categorical ways we often talk about social change: one, as a matter of "changing the world" and two, as a matter of "changing ourselves." Both ideas, temporarily demarcated here, are not mutually exclusive. In the former, the operative assumption is of a world that is agentially impoverished; a world that is mechanical and clunky and a mere reflection of the luminous intelligence of the human self. "Changing the world" riskily emphasizes an anthropocentric universe with miraculous human actors that are set against a 'background world' of things ultimately reducible to human sociality. The other idea - that which focuses on "changing ourselves" - deifies consciousness as the very stuff that makes up the universe - and, in so doing, equates a sense of internal wellbeing and "alignment" with harmonious relations. This, of course, like its outward-facing counterpart, centralizes meaning, language, presence, and reflexion. It’s a matter of looking at the “man in the mirror”, getting our priorities straight before addressing the world outside of us. Bayo Akomolafe Both ideas, depending on the same logic, are really the same thing: an apartheid of relations between the self and its context; an affective and desirous configuration of the citizen as a subject of entitlement; a reduction of experience to consciousness. That “we” can “change the world” either by acting upon it from a purity of ideas or by turning inwards is a move that ironically postpones ‘the world’, replacing ‘it’ with a totalizing artefact fitting to modern imaginaries. What then? Should we not do something then? Should we put up our hands and feet and do nothing? The calculation that balances “failing to turn up” with “nothing happening” misappropriates agency as a human property, and – more critically – is unable to see that agency (or the capacity to respond to/enter relations with) enlists bodies in its ongoing flows and tides and ripples. Even the moral imperatives to address uneven circumstances and oppressive situations are matters of territory subject to and contingent upon ‘larger’ shifts and molecular events in and around us. Bayo Akomolafe When I think about postactivism, I do not think about it as either a surer means to changing the world, changing ourselves, or doing nothing. I think of it as a disruption of the ways we imagine agency and becoming; as a release from sensorial domains and affective pathways that ritualize the familiar; and as a coming alive to other questions about what acting is indebted to. Postactivism is not a turning-inward or a turning-outward, since the architecture that guarantees the twain shall never meet is disarranged by a crack. Postactivism is a turn of grace, afalling off the highway, a disruption of the pheromone trail. A cosmic risk that invites new problems and new questions: can we risk changing the world? Can we risk victory? What else is here? Thriveable Environment Life is everywhere. It is in the trees, the flowers, the birds, the insects. It is in the rivers, the oceans, the mountains, the clouds. It is in the cities, the buildings, the roads, the cars. It is in the people, the animals, the cultures, the arts. Life is a miracle, a gift, a wonder. It is diverse, complex, beautiful, and precious. Life is something to celebrate, to cherish, to protect. Life is what makes us who we are, what connects us to each other and to nature. Life is an adventure, a challenge, a joy. Life is amazing. Connecting the dots Thriveable Environment A thriveable environment is one that supports the well-being and flourishing of all living systems, including humans, animals, plants and ecosystems. According to some sources, the main elements of a thriveable environment are: •Alignment with life’s core operating patterns: This means recognising that organisations and societies are living systems that work the same way as other living systems, such as our bodies, rain forests and coral reefs. It also means applying the principles of living systems, such as diversity, interdependence, self-organization and emergence, to our organizational and social structures. •Intention and practice of enhancing life’s ability to thrive: This means identifying and committing to a meaningful purpose that serves life in some way and aligning our actions and decisions with that purpose. It also means measuring our impact on life’s Thriveability using holistic indicators that go beyond financial profit or environmental footprint. •Participation, playfulness and flow: These are the qualities that enable living systems to adapt, learn and innovate in response to changing conditions. Participation refers to the involvement and empowerment of all stakeholders in co-creating solutions. Playfulness refers to the exploration and experimentation of new possibilities without fear of failure. Flow refers to the optimal state of engagement and enjoyment that arises when we are fully immersed in a meaningful activity. •Healthy environment: This means ensuring that the physical environment in which we live, and work is free from pollution, contamination and degradation that harm our health and well-being. It also means respecting and protecting the natural environment that sustains all life on Earth and restoring its balance and diversity. Main Structure Theory Main Structure Theory Main Structure Theory – Christopher Alexander Christopher Alexander is a renowned architect and urban designer who has proposed a theory of "main structure" in his book The Timeless Way of Building. According to this theory, every place has a main structure, which is a set of spatial relationships that define its essential character and identity. The main structure is not a physical form, but a pattern of centres, which are regions of space that have life and coherence. The main structure is also not fixed, but evolves over time as the place adapts to changing needs and contexts. The main structure theory has several implications for urban design. First, it suggests that urban designers should not impose preconceived forms or styles on a place, but rather discover and enhance its existing main structure. This requires a careful observation and analysis of the place, its history, its culture, its people, and its environment. Second, it implies that urban design should not be a top-down or centralized process, but rather a participatory and decentralized one. Alexander advocates for a pattern language approach, which is a method of generating and communicating design solutions using a common vocabulary of patterns. Each pattern describes a recurring problem and a way of solving it in a specific context. Patterns can be combined and adapted to create complex and coherent designs that reflect the local main structure. Third, it means that urban design should not be static or final, but dynamic and open-ended. Alexander proposes an experimental and iterative process of design, which he calls the Oregon Experiment. This process involves testing and evaluating design proposals in real situations, and making continuous adjustments and improvements based on feedback and learning. The main structure theory has been influential and controversial in the field of urban design. Some of its strengths are that it offers a humanistic and holistic perspective on design, that it respects the diversity and uniqueness of places, that it empowers people to shape their own environments, and that it fosters a sense of belonging and identity. Some of its weaknesses are that it is vague and subjective in its definitions and measurements, that it is difficult to apply in large-scale or complex projects, that it ignores some aspects of social and economic reality, and that it can be misused or misunderstood by designers or stakeholders. Main Structure Theory The following references provide more information about the main structure theory and its applications: - Alexander, C. (1979). The Timeless Way of Building. Oxford University Press. - Alexander, C., Ishikawa, S., Silverstein, M., Jacobson, M., Fiksdahl-King, I., & Angel, S. (1977). A Pattern Language: Towns, Buildings, Construction. Oxford University Press. - Alexander, C., Silverstein, M., Angel, S., Ishikawa, S., & Abrams, D. (1975). The Oregon Experiment. Oxford University Press. - Dawes, M.J., & Ostwald, M.J. (2017). Christopher Alexander’s A Pattern Language: analysing, mapping and classifying the critical response. City Territory Architecture 4(17). https://doi.org/10.1186/s40410-017-0073-1 - Rauber, A., & Krafta R. (2018). Alexander’s Theories Applied to Urban Design. Urban Science 2(3), 86. https://doi.org/10.3390/urbansci2030086 Pattern Language Pattern Language – Christopher Alexander Pattern Language Christopher Alexander also proposed the concept of pattern language as a way of creating human-scale, liveable and sustainable environments. Pattern language is a collection of design solutions that address common problems in the built environment, such as how to create public spaces, how to connect buildings, how to provide natural light, etc. Each pattern is described in a consistent format, with a name, a context, a problem, a solution and examples. Alexander and his colleagues published 253 patterns in their book A Pattern Language: Towns, Buildings, Construction (1977), which is considered one of the most influential architectural treatises ever written. One of the main ideas behind pattern language is that it can be used by anyone, not just professionals, to design and build their own environments. Alexander believed that people should be involved in the creation of their own places, and that pattern language can empower them to do so. He also argued that pattern language can generate a timeless quality in architecture, that is, a quality that transcends styles and trends and responds to the essential needs of human beings. He called this quality "the quality without a name" and described it as "a central quality which is the root criterion of life and spirit in a man, a town, a building, or a wilderness" (Alexander 1979). Pattern language has been applied to various fields and disciplines, such as software engineering, education, organisational development and environmental psychology. However, its most direct application is in urban design, where it can be used to create places that are coherent, diverse, adaptable and resilient. Pattern Language These are just some examples of how pattern language can be used to guide urban design decisions. Pattern language is not a rigid or prescriptive system, but rather a flexible and generative one. It allows for creativity and adaptation to different contexts and situations. It also encourages participation and collaboration among different stakeholders and users. Pattern language is not only a tool for designing places, but also a way of thinking about them. References: - Alexander C (1979) The Timeless Way of Building. Oxford University Press - Alexander C et al (1977) A Pattern Language: Towns, Buildings, Construction. Oxford University Press - Dawes MJ & Ostwald MJ (2017) Christopher Alexander’s A Pattern Language: analysing, mapping and classifying the critical response. City Territory Architecture 4:17 - Park Y & Newman GD (2017) A framework for placemaking using Alexander’s patterns. URBAN DESIGN International 22:349–362 Links: https://cityterritoryarchitecture.springeropen.com/articles/1 0.1186/s40410-017-0073-1 - https://link.springer.com/article/10.1057/s41289-0170040-1 - https://en.wikipedia.org/wiki/A_Pattern_Language The Nature of Order The Nature of Order– Christopher Alexander The Nature of Order is a four-volume work by the architect Christopher Alexander, published in 20022004. In this work, Alexander attempts to formulate the principles that lead to a good built environment as well as a deep understanding of how the makers get in touch with the creative process. He argues that any entity, such as a building, a city, or a painting, has a certain degree of life, which can be sensed objectively by human beings. He also identifies fifteen geometric properties that tend to accompany the presence of life in nature and in human-made environments. One of the main ideas of Alexander's work is that order in nature is the same as order in what we make or build, as well as in what we experience. He developed the concept of wholeness to characterize the degree of order that pervasively exists in our surroundings as well as in the universe, virtually ranging from the largest to the smallest scales. Wholeness is not a static state, but a dynamic and evolving process that depends on the interactions and relationships among the parts of a whole. Alexander proposes that wholeness can be measured by a mathematical structure called a wholeness-extending transformation, which captures how each part contributes to the life of the whole. The Nature of Order Another key idea of Alexander's work is that the process of creating life is an evolutionary one, guided by a generative code or language. A generative code is a set of rules or patterns that can be applied recursively to generate complex structures with life. Alexander claims that such codes are inherent in nature and in human culture, and that they can be discovered and articulated by careful observation and experimentation. He also suggests that generative codes can be used as tools for design and construction, allowing the makers to create living structures that are adapted to their context and responsive to their needs. The Nature of Order Alexander's work is not only a theoretical contribution, but also a practical one. He has applied his ideas to hundreds of building and design projects across the world, many of which were done through his life-long lab, The Centre for Environmental Structure. He has also conducted empirical studies and experiments to test and validate his concepts and methods. His work has influenced many fields and disciplines, such as computer science, urban planning, ecology, psychology, art, and education. The Nature of Order is a monumental work that challenges conventional views of architecture and design and offers a new vision of how to create living environments that support human well-being. It is also a personal reflection of Alexander's own journey as an architect, a scientist, and a human being. It is a work that invites us to rethink our relationship with nature, with ourselves, and with each other. His fifteen geometric properties that tend to accompany the presence of life in nature and in human-made environments. These properties are not merely aesthetic preferences, but rather reflect the underlying structure of wholeness, a concept that Alexander uses to describe the quality of being whole, coherent, and harmonious. The fifteen properties are: 1. Levels of Scale: A system that has functional coherence at different levels of scale, creating a hierarchy of nested structures. The Nature of Order 2. Strong Centers: A system that has centers of action or force that radiate outwards and organize the surrounding elements. 3. Boundaries: A system that has thick boundaries that separate and connect different systems, creating zones of interaction and transition. 4. Alternating Repetition: A system that has repeating units that alternate with a second structure, creating rhythm and variation. 5. Positive Space: A system that has well-defined positive spaces that are coherent and meaningful, not leftover or arbitrary. 6. Good Shape: A system that has shapes that are simple, clear, and recognizable, not complex, vague, or ambiguous. 7. Local Symmetries: A system that has local symmetries that create balance and harmony, not global symmetries that create rigidity and monotony. 8. Deep Interlock and Ambiguity: A system that has elements that interlock and overlap with each other, creating complexity and richness. 9. Contrast: A system that has elements that contrast with each other in size, shape, color, or orientation, creating diversity and differentiation. 10. Gradients: A system that has elements that change gradually in size, shape, color, or orientation, creating continuity and direction. 11. Roughness: A system that has elements that are irregular, imperfect, or approximate, not exact, precise, or smooth. 12. Echoes: A system that has elements that echo or resemble each other in some aspect, creating similarity and resonance. 13. The Void: A system that has empty spaces or gaps that create pause and calmness, not clutter and noise. 14. Simplicity and Inner Calm: A system that has few elements that are essential and necessary, not many elements that are redundant or superfluous. The Nature of Order 15. Not-Separateness: A system that has elements that are connected and related to each other and to the larger context, not isolated or detached. These properties can be found in natural phenomena such as plants, animals, landscapes, crystals, clouds, etc., as well as in human-made artifacts such as buildings, paintings, sculptures, music, etc. They can also be used as design principles to create more life-enhancing environments. These properties can be found in natural phenomena such as plants, animals, landscapes, crystals, clouds, etc., as well as in human-made artifacts such as buildings, paintings, sculptures, music, etc. They can also be used as design principles to create more life-enhancing environments. Sources: : https://iamronen.com/blog/2018/03/24/christopher-alexander-the-fifteen-properties-in-nature/ : https://www.buildingbeauty.org/resource-center-entries/2017/12/21/dutchmans-pipe-15p : https://www.archdaily.com/626429/unified-architectural-theory-chapter-11 Regenerative Architecture Regenerative Design Regenerative design is developed upon the idea that humans and the built environment exist within natural systems and the built environment ought to be designed to co-evolve with the neighbouring natural environment. The purpose of the project does not end with the completion of construction and certificate of occupancy. Rather, the building helps to enhance the relationships between humans, the surrounding built environment, and the adjacent natural systems over a period. Regenerative Design Regenerative Architecture The authors of a COST (European Cooperation in Science and Technology) study referred to as Sustainability, Restorative to Regenerative provide the following definitions and examples of each concept: •Sustainability: Aims to conserve resources, reduce adverse effects, and reach parity between what we offer and receive. •Restorative: Bringing social and environmental systems back to healthiness and longevity •Regenerative: That which promotes the continued health and development of social and ecological systems. Sustainable architecture is built on minimizing negative impacts on the environment and maximizing functionality without wasting resources. The idea that we need to maintain our lives, comforts, routines, and environs has led to the dismissal of sustainable design as an approach. Humanity’s continued consumption of resources will inevitably lead to their depletion or extinction. On the other hand, regenerative design is a way of life that has enabled us to consume the resources we require and regenerate them. We can see the effects of air pollution on ecosystems like the environment. With the help of regenerative approaches, we can get those systems back to peak efficiency. Regenerative Design Regenerative Architecture Characteristics To grasp the nature of this approach, we must be familiar with its hallmarks and the most frequently used procedures in projects that employ it. 1) Net-Zero Energy 2) Water Retention and Purification 3) Adjusting to Weather conditions 4) Interdependence 1) Net-Zero Energy regenerative architecture relies on using no additional energy or producing greenhouse gases. Buildings used for business or government are heavy energy users because of the need for HVAC, lighting, and other electrical appliances. Solar panels are viable for harnessing the abundant solar energy available in tropical locations like India, where it is possible to achieve the goals of preserving, devouring, and renewing energy through microgrids to store energy during the day and use it at night in the building. Energy generators are just one example of the growing prevalence of renewable technology like solar panels and wind turbines. The concept of net-zero energy use is crucial because it can improve the deteriorating state of the planet and provide a healthier atmosphere in which to live. Regenerative Design 2) Water Retention and Purification The net-zero water usage goal is the driving force for the regenerative design. To conserve water, buildings should use rainwater harvesting systems, cisterns, and permanent water lines to collect and store rainwater. Rainwater collection and storage is a valuable natural tool for recharging aquifers for later usage. Knowing how to recycle used water is just as crucial as knowing how to use saved water. The goal of the regenerative design is to not only reduce water usage but to recycle that use through many purification stages. Treated water has several potential applications, including but not limited to plumbing fixtures, landscaping, onsite water needs, and even the HVAC system in extreme cases. 3) Adjusting to Weather conditions Because of its resilience in natural disasters, climate change inspires a shift toward more regenerative building practices. You don’t need to rethink the structure or use any extra or external energy to accomplish any of these goals—protecting residents from wind damage to the building’s exterior and covering; lowering heating and cooling costs; improving the building’s natural ventilation system; and decreasing the amount of moisture that gets inside. Regenerative Design 4) Interdependence Any organism that exists, including humans, needs the environment to survive. Nothing is conceivable apart from nature because humans require it for survival. This can be seen through the water to quell their thirst, air for respiration, a comfortable climate in which to live, food to gain and preserve energy, and coal, water, or wind to generate electricity. The concept of regenerative architecture derives from the realization that both human beings and construction sites are embedded within ecosystems and that the latter should be planned to facilitate mutual adaptation between the two. Obtaining a certificate of habitation and finishing construction are not the project’s final goals. Instead, the structure works to improve the connections between people, other buildings, and the natural processes in the area through time. Regenerative Design Conclusion The larger picture of Regenerative Architecture and the responsibility of biology and biomimicry in architecture are all components of a worldwide effort toward exploring and developing techniques to develop buildings that pursue to integrate and re-establish the natural environment. Most of the new strategies related to Regenerative Architecture are only in the prototype phase or the initial development phase. Armstrong’s study, for example, intends to incorporate microbes to build living buildings or live structures that “grow, metabolize and defend us like an immune system.” Regenerative Architecture also changes the approach toward community development concerns, with a need to plan in a direction that encourages hazardous or marginalized populations, promotes achievable priced accommodation, and takes issues of social equity to the forefront of design considerations. Regenerative design in architecture is about taking accountability and action to diminish the harmful effects of the carbon emissions produced by the structures before, during, and even after construction. Regenerative Architecture is designed through the lens that evolves a more holistic, data-driven, and renewal-focused approach. https://thedesigngesture.com/regenerative-architecture/ https://www.arch2o.com/how-is-regenerative-architecturechanging-sustainability-fundamentals-we-all-know/ Regenerative Design Circular Economy Circular Architecture Circular Architecture Circular Architecture Circular economy Architecture Architecture and circular economy are two concepts that are closely related, as they both aim to reduce waste and environmental impact, while creating value and innovation. In this text, I will explore how these concepts can be applied in the design and construction of buildings, as well as in the urban planning and development of cities. One of the main principles of circular economy is to design out waste and pollution, by using materials that are renewable, recyclable, or biodegradable. This means that architects need to consider the life cycle of their buildings, from the extraction of resources, to the fabrication, transportation, assembly, maintenance, and eventually disassembly and reuse of materials. Some examples of circular architecture are the **Circular Building** in London, which was constructed entirely with modular components that can be easily dismantled and reused, and the **WikiHouse** project, which is an opensource platform that allows anyone to design and build their own low-cost and low-carbon houses using digital fabrication. Circular Architecture Another principle of circular economy is to keep products and materials in use, by extending their lifespan, repairing them, or transforming them into new products. This means that architects need to design buildings that are adaptable, flexible, and resilient, that can accommodate changing needs and functions over time. Some examples of adaptive architecture are the ‘Superlofts’ in Amsterdam, which are customizable apartments that can be reconfigured by their owners according to their preferences, and the **Plug-In City 75** in Paris, which is a mixed-use building that incorporates prefabricated modules that can be plugged in or out depending on the demand. A third principle of circular economy is to regenerate natural systems, by restoring biodiversity, enhancing ecosystems, and supporting renewable energy sources. This means that architects need to design buildings that are integrated with their surroundings, that minimize their ecological footprint, and that contribute to the well-being of their inhabitants. Some examples of regenerative architecture are the ‘Bosco Verticale’ in Milan, which is a pair of residential towers that host more than 900 trees and 20,000 plants on their facades, and the **Solar Mountain** in Nevada, which is a proposal for a solar-powered pavilion that mimics the shape of a mountain and creates a microclimate for vegetation. Circular Architecture Circular economy in architecture is not only a matter of material choices or building techniques, but also a matter of urban design and planning. Cities are complex systems that consume vast amounts of resources and generate huge amounts of waste. To make cities more circular, architects need to collaborate with other disciplines and stakeholders, such as engineers, urbanists, policymakers, developers, and citizens. Some examples of circular cities are **Amsterdam**, which has adopted a circular strategy that aims to halve its use of new raw materials by 2030 and become fully circular by 2050, and **Shenzhen**, which has implemented a series of policies and projects that promote green infrastructure, waste management, renewable energy, and social inclusion. In conclusion, architecture and circular economy are interdependent and mutually beneficial. By applying the principles of circular economy in architecture, we can create buildings and cities that are more sustainable, resilient, innovative, and liveable. Circular Architecture Circular economy Architecture Architecture and circular economy are closely related concepts that aim to reduce waste, reuse resources, and regenerate natural systems. Some examples of circular economy in urban design are: - The transformation of social housing in Bordeaux and Paris by Lacaton & Vassal, Frédéric Druot, and Christophe Hutin, which involved replacing old glass-finish systems with new ones, adding fully glazed external elevators, and preserving the existing qualities of the dwellings. - The remanufacturing of wood, which involves salvaging and reusing wood from demolished or obsolete buildings for framing, finishing, or other valueadded operations in new projects. - The circular economy strategy of Prague, which analysed the local material flows, carbon emissions, and economic sectors to identify opportunities for circularity, such as promoting green roofs, urban farming, and biogas production. Cradle to Cradle C2C Architecture C2C Architecture C2C Architecture Cradle to Cradle Architecture Cradle to cradle architecture is a design philosophy that aims to create buildings and products that are not only sustainable, but also regenerative and circular. It is based on the idea that waste does not exist, but rather that everything can be reused or recycled as a biological or technical nutrient. Cradle to cradle architecture also seeks to use renewable energy sources and to support diversity and social equity. In this essay, I will explain the principles and benefits of cradle-to-cradle architecture and provide some examples of its application in the built environment. The term cradle to cradle was coined by architect William McDonough and chemist Michael Braungart in their book Cradle to Cradle: Remaking the Way We Make Things. They proposed a new approach to design that mimics nature's processes of circular transmission of energy and materials. They suggested that in order for materials to complete their life cycles, they must either replenish the ecosystem in an organic way, or enter a new cycle with added value. They also advocated for the elimination of toxic substances and the use of renewable energy sources. The cradle-to-cradle concept is based on three main principles: waste equals food, use solar income, and celebrate diversity. The first principle means that every material or product should be designed to be either a biological nutrient, which can safely return to the soil or water, or a technical nutrient, which can be endlessly reused or upcycled without losing quality or functionality. The second principle means that every building or system should rely on renewable energy sources, such as solar, wind, or geothermal power, and avoid using fossil fuels or nuclear energy. The third principle means that every design should respect and enhance the diversity of nature and culture, and promote social justice and well-being. C2C Architecture Cradle to cradle architecture has many benefits for the environment, the economy, and the society. It can reduce the environmental impact of buildings and products by minimizing waste, emissions, and resource consumption. It can also create positive impacts by restoring ecosystems, generating clean energy, and improving human health. Cradle to cradle architecture can also stimulate innovation and economic growth by creating new markets, opportunities, and jobs for circular products and services. Moreover, it can foster social cohesion and equity by empowering communities, enhancing education, and celebrating diversity. Cradle to cradle architecture has many benefits for the environment, the economy, and the society. It can reduce the environmental impact of buildings and products by minimizing waste, emissions, and resource consumption. It can also create positive impacts by restoring ecosystems, generating clean energy, and improving human health. Cradle to cradle architecture can also stimulate innovation and economic growth by creating new markets, opportunities, and jobs for circular products and services. Moreover, it can foster social cohesion and equity by empowering communities, enhancing education, and celebrating diversity. There are many examples of cradle to cradle architecture around the world. One of them is the Universidad EAN (UEAN) in Bogotá, Colombia, which is designed by William McDonough + Partners as a showcase of sustainable and regenerative design. The building features a green roof that collects rainwater and provides insulation, a facade that optimizes natural ventilation and daylighting, and a solar canopy that generates electricity. The building also uses materials that are either biodegradable or recyclable, such as bamboo, wood, steel, glass, and plastic. The building is intended to inspire the next generation of students and professionals to adopt the cradle to cradle philosophy. C2C Architecture Another example is the Park 20|20 in Hoofddorp, Netherlands, which is designed by William McDonough + Partners as a mixed-use development that integrates work, living, learning, and leisure. The development consists of several buildings that are connected by green spaces and waterways. The buildings are designed to be adaptable, flexible, and modular, allowing for easy reconfiguration and reuse. The buildings also use materials that are either biological or technical nutrients, such as wood, metal, glass, ceramic, wool, cotton, and rubber. The development also uses renewable energy sources such as solar panels, wind turbines, biomass boilers, and geothermal heat pumps. The development aims to create a vibrant community that supports social interaction and well-being. Cradle to cradle architecture is a visionary and practical way of designing buildings and products that are not only sustainable but also regenerative and circular. It is based on the idea that waste does not exist but rather that everything can be reused or recycled as a biological or technical nutrient. It also seeks to use renewable energy sources and to support diversity and social equity. Cradle to cradle architecture has many benefits for the environment, the economy, and the society. It can reduce environmental impact while creating positive impact; it can stimulate innovation and economic growth; it can foster social cohesion and equity. Cradle to cradle architecture is an example of how we can shape the world in a better way. References: http://shapetheworld.ca/index.php/2021/04/22/cradle-to-cradle-circular-concepts-inarchitecture/ https://www.archdaily.com/tag/cradle-to-cradle https://blog.allplan.com/en/cradle-to-cradle-principle https://mcdonough.com/writings/toward-sustaining-architecture-21st-century/ Resilient Cities Architecture Resilient Cities Resilient Cities an over-concentration of large-sale components; So, what can we learn from biological systems? They are incredibly complex. Take, for instance, the rich complexity of a rainforest. It too generates complicated interactions among many billions of components. Resilient Cities Yet many rainforests manage to remain stable over many thousands of years, in spite of countless disruptions and “shocks to the system.” Can we understand and apply the lessons of their structural characteristics? It seems we can. Here are four such lessons extracted from distributed (noncentralized) biological systems that we will discuss in more detail: 1.These systems have an inter-connected network structure. 2.They feature diversity and redundancy (a totally distinct notion of “efficiency”). 3.They display a wide distribution of structures across scales, including fine-grained scales. 4.They have the capacity to self-adapt and “selforganize.” This generally (though not always) is achieved through the use of genetic information. a more resilient distributed network of nodes. How can we apply these structural lessons to create resilient cities, and to improve smaller vulnerable parts of cities by making them resilient? Developing the ideas from our previous list, resilient cities have the following characteristics: Resilient Cities 1.They have inter-connected networks of pathways and relationships. They are not segregated into neat categories of use, type, or pathway, which would make them vulnerable to failure. 2.They have diversity and redundancy of activities, types, objectives, and populations. There are many different kinds of people doing many different kinds of things, any one of which might provide the key to surviving a shock to the system (precisely which can never be known in advance). 3.They have a wide distribution of scales of structure, from the largest regional planning patterns to the most fine-grained details. Combining with (1) and (2) above, these structures are diverse, interconnected, and can be changed relatively easily and locally (in response to changing needs). They are like the small bricks of a building, easily repaired when damaged. (The opposite would be large expensive pre-formed panels that have to be replaced in whole.) 4.Following from (3), they (and their parts) can adapt and organize in response to changing needs on different spatial and temporal scales, and in response to each other. That is, they can “self-organize.” This process can accelerate through the evolutionary exchange and transformation of traditional knowledge and concepts about what works to meet the needs of humans, and the natural environments on which they depend. Resilient Cities Resilient cities evolve in a very specific manner. They retain and build upon older patterns or information, at the same time that they respond to change by adding novel adaptations. They almost never create total novelty, and almost always create only very selective novelty as needed. Any change is tested via selection, just as changes in an evolving organism are selected by how well the organism performs in its environment. This mostly rules out drastic, discontinuous changes. Resilient cities are thus “structure-preserving” even as they make deep structural transformations. Non-Resilient Cities The evolution of non-resilient cities Many of our cities were (and still are) shaped by a model of city planning that evolved in an era of cheap fossil-fuel energy and a zeal for the mechanistic segregation of parts. The result is that in many respects we have a rigid nonresilient kind of city; one that, at best, has some “engineered resilience” towards a single objective, but certainly no “ecological resilience.” Response is both limited and expensive. Consider how the pervasive model of 20th century city planning was defined by these non-resilient criteria: 1.Cities are “rational” tree-like (top-down “dendritic”) structures, not only in roads and pathways, but also in the distribution of functions. 2.“Efficiency” demands the elimination of redundancy. Diversity is conceptually messy. Modernism wants visually clean and orderly divisions and unified groupings, which privilege the largest scale. 3.The machine age dictates our structural and tectonic limitations. According to the most influential theorists of the modernist city, mechanization takes command (Giedion); ornament is a crime (Loos); and the most important buildings are large-scale sculptural expressions of fine art (Le Corbusier, Gropius, et al.). 4.Any use of “genetic material” from the past is a violation of the machineage zeitgeist, and therefore can only be an expression of reactionary politics; it cannot be tolerated. Novelty and neophilia are to be elevated and privileged above all design considerations. Structural “evolution” can only be allowed to occur within the abstracted discourse of visual culture, as it evaluates and judges human need by its own (specialized, ideological, aestheticizing) standards. From the perspective of resilience theory, this can be seen as an effective formula for generating non-resilient cities. It is not an accident that the pioneers of such cities were, in fact, evangelists for a high-resource dependent form of industrialization, at a time when the understanding of such matters was far more primitive than now. Non-Resilient Cities Resilience Architecture Resilience Architecture Resilience Architecture Resilience architecture is a design approach that aims to create buildings and cities that can adapt to changing conditions and withstand disruptions, such as natural disasters, climate change, or social and economic shocks. Resilience is not only about surviving crises, but also about learning from them and evolving to become more robust and sustainable. Resilience is closely related to sustainability, but it goes beyond minimizing environmental impacts to enhancing the capacity of human and natural systems to cope with uncertainty and change. One of the key principles of resilient architecture is diversity. Diversity means having a variety of elements, functions, scales, and sources in a system, which can increase its flexibility and redundancy. For example, a resilient city would have a diverse mix of land uses, transportation modes, energy sources, and social groups, which can provide multiple options and backup solutions in case of failure or disruption. Diversity also fosters innovation and creativity, as different perspectives and experiences can generate new ideas and solutions. Another key principle of resilient architecture is connectivity. Connectivity means having strong and meaningful links between the elements, functions, scales, and sources in a system, which can enhance its coordination and collaboration. For example, a resilient building would have a high degree of connectivity between its structure, envelope, systems, and occupants, which can enable feedback loops and information flows that optimize performance and comfort. Connectivity also fosters cooperation and solidarity, as shared values and goals can motivate collective action and mutual support. Resilience Architecture One of the main differences between resilience and sustainability is the focus on adaptation versus mitigation. Sustainability focuses on reducing the negative impacts of human activities on the environment, such as greenhouse gas emissions, resource depletion, or pollution. Resilience focuses on increasing the positive impacts of human activities on the environment, such as ecosystem services, resource regeneration, or biodiversity. Sustainability aims to prevent or avoid problems, while resilience aims to solve or overcome problems. Another main difference between resilience and sustainability is the level of complexity and uncertainty involved. Sustainability assumes a relatively stable and predictable system, where the causes and effects of human actions can be measured and controlled. Resilience assumes a relatively dynamic and unpredictable system, where the causes and effects of human actions can be emergent and nonlinear. Sustainability relies on planning and optimization, while resilience relies on learning and experimentation. Resilient architecture is not a fixed or predetermined outcome, but a dynamic and adaptive process that responds to the specific needs and challenges of each context. Resilient architecture is not a one-size-fits-all solution, but a context-sensitive approach that considers the local culture, climate, resources, and risks. Resilient architecture is not a topdown imposition, but a bottom-up participation that involves the stakeholders and users in the design and decision-making process. Resilient architecture is not an isolated intervention, but an integrated system that interacts with its environment and contributes to its regeneration. Resilience Architecture Resilience Architecture is a design approach that aims to create buildings and cities that can adapt to changing conditions and withstand disruptions, such as natural disasters, climate change, or social and economic shocks. Resilience is not only about surviving crises, but also about learning from them and evolving to become more robust and sustainable. Resilience is closely related to sustainability, but it goes beyond minimizing environmental impacts to enhancing the capacity of human and natural systems to cope with uncertainty and change. One of the key principles of resilient architecture is diversity. Diversity means having a variety of elements, functions, scales, and sources in a system, which can increase its flexibility and redundancy. For example, a resilient city would have a diverse mix of land uses, transportation modes, energy sources, and social groups, which can provide multiple options and backup solutions in case of failure or disruption. Diversity also fosters innovation and creativity, as different perspectives and experiences can generate new ideas and solutions. Another key principle of resilient architecture is connectivity. Connectivity means having strong and meaningful links between the elements, functions, scales, and sources in a system, which can enhance its coordination and collaboration. For example, a resilient building would have a high degree of connectivity between its structure, envelope, systems, and occupants, which can enable feedback loops and information flows that optimize performance and comfort. Connectivity also fosters cooperation and solidarity, as shared values and goals can motivate collective action and mutual support. Resilience Architecture References: - Resilience | Tag | ArchDaily https://www.archdaily.com/tag/resilience - What Does “Resilience” Have to Do With Architecture? - Metropolis https://metropolismag.com/projects/resilience-architecture/ - Resilience in Architecture – The Future of Sustainability https://connect.buildnext.in/resilience-inarchitecture-the-future-of-sustainability/ Resilience Architecture Resilience Architecture Resilience Architecture Recyclable Architecture Architecture Recyclable Architecture Recyclable architecture Recyclable architecture is a branch of architecture that focuses on reducing the environmental impact of buildings by using recycled materials, reusing construction waste, and designing for circular economy. Recyclable architecture aims to minimize the consumption of natural resources, energy, and water, as well as the generation of greenhouse gas emissions and waste. Recyclable architecture can be applied in various scales and contexts, from urban planning to interior design, and can offer economic, social, and environmental benefits. One of the main strategies of recyclable architecture is to use recycled materials as building elements, such as bricks, concrete, steel, wood, plastic, rubber, glass, and paper. Recycled materials can be obtained from different sources, such as industrial processes, post-consumer waste, or demolition debris. Recycled materials can reduce the demand for virgin materials and save energy and emissions in their production. Recycled materials can also have aesthetic and functional advantages, such as creating unique textures, colours, and patterns, or improving the thermal and acoustic performance of buildings. Another strategy of recyclable architecture is to reuse construction waste back into another construction. Construction waste is one of the largest sources of waste in the world, accounting for 50% to 70% of the total waste generated in some countries. Reusing construction waste can prevent it from being sent to landfills or incinerators, where it can cause pollution and health problems. Reusing construction waste can also reduce the costs of transportation and disposal, as well as create new opportunities for innovation and creativity. Recyclable Architecture A third strategy of recyclable architecture is to design for circular economy. Circular economy is a concept that challenges the linear model of production and consumption, where products are created, used, and then discarded. Circular economy proposes a system where products are designed to last longer, be repaired, refurbished, or remanufactured, and eventually recycled or composted. Circular economy also promotes the sharing, leasing, or renting of products and services, rather than owning them. Designing for circular economy can extend the life cycle of buildings and materials, optimize their use and value, and reduce their environmental impact. Some examples of recyclable architecture projects are: - The Zig-Zag House in United States by David Coleman Architecture. This house was built with recycled steel beams from a demolished bridge and reclaimed wood from an old barn. - The Plastic House in Dublin by Architecture Republic. This house was renovated with recycled plastic bottles that were cut into strips and woven into panels that form the walls and roof. - The L-House in Poland by Pracownia Projektowa Archipelag. This house was constructed with recycled concrete pipes that were stacked and arranged to create a dynamic form. - The Manav Sadhna in Ahmedabad by Hunnarshala Foundation. This community center was built with recycled materials such as bamboo, mud bricks, ceramic tiles, glass bottles, and metal scraps. - The House of Mixed Hues in Mumbai by S+PS Architects. This house was designed with recycled materials such as old doors, windows, columns, railings, furniture, and fabrics that create a collage of colours and textures. Recyclable Architecture - The La Fabrique in Switzerland by Localarchitecture. This cultural centre was converted from an old factory with recycled materials such as wood pallets, metal sheets, cardboard tubes, and plastic crates. - The Vegan House in Ho Chi Minh City by Block Architects. This house was made with recycled materials such as bricks from demolished buildings and bamboo poles from nearby forests. - The Glass Chapel in United States by Hank Koning Eisele Architects. This chapel was built with recycled glass bottles that were cut and glued together to form a translucent wall. References: [1] Zero Waste in Architecture: Rethink, Reduce, Reuse and Recycle | ArchDaily https://www.archdaily.com/928391/why-flexibility-and-material-reuse-are-key-aspects-ofsustainability [2] Where to Apply Recycled Materials in Architecture and Urbanism? | ArchDaily https://www.archdaily.com/943256/where-to-apply-recycled-materials-in-architecture-andurbanism-8-possible-applications [3] 15 architectural projects made out of recycled materials - RTF https://www.re-thinkingthefuture.com/designing-for-typologies/a4102-15-architecturalprojects-made-out-of-recycled-materials/ [4] Recycling in Architecture - RTF https://www.re-thinkingthefuture.com/architectural-community/a8746-recycling-inarchitecture/ [5] 15 Perfect Recycled Materials for All Architecture Projects https://www.arch2o.com/15-perfect-recycled-materials-for-all-architecture-projects/ Recyclable Architecture Recycled Materials Cottage | Juan Luis Martinez Nahuel This cottage was designed by Juan Luis Martinez Nahuel, located in Chile. This residence is one of the best examples of the application of reused materials. The residence is designed as a single unit with two zones (Private and Public zone). The materials utilized in this residence are reused from different houses. Some reused materials utilized in the residence; Glazed doors from 1960s Horacio Borghersi house – Utilized main facade Eucalyptus and native rauli parquet floors of a house of 1970s by Larrain, Swinburn, and Covarrubias – Main coating Commercial laminated beams and steel pieces – Main structural elements Biomimicry Architecture Organic Architecture Biomimicry Architecture Biomimicry Architecture Biomimicry design is a practice that learns from and mimics the strategies found in nature to solve human design challenges and create more sustainable and regenerative solutions. Biomimicry design involves three essential elements: emulate, ethos, and (re)connect. Emulate means replicating nature's forms, processes, and ecosystems in our designs. Ethos means understanding how life works and creating designs that support and enhance life. (Re)connect means recognizing that we are part of nature and finding value in connecting to our place on Earth as part of life's interconnected systems. Biomimicry design can help us address some of the most pressing problems of our time, such as climate change, resource scarcity, and social inequity. Biomimicry design can also inspire us to create more innovative and resilient products, processes, and systems that benefit both humans and the environment Biomimicry architecture is a field of design that draws inspiration from nature's forms, processes, systems and strategies to create more sustainable and efficient built environments. Biomimicry can be applied at different levels of scale and complexity, from the organism to the ecosystem, and from the material to the structural system. Here are some examples of biomimicry architecture and their references: Biomimicry Architecture Biomimicry Architecture Biomimicry design is a practice that learns from and mimics the strategies found in nature to solve human design challenges and create more sustainable and regenerative solutions. Biomimicry design involves three essential elements: emulate, ethos, and (re)connect. Emulate means replicating nature's forms, processes, and ecosystems in our designs. Ethos means understanding how life works and creating designs that support and enhance life. (Re)connect means recognizing that we are part of nature and finding value in connecting to our place on Earth as part of life's interconnected systems. Biomimicry design can help us address some of the most pressing problems of our time, such as climate change, resource scarcity, and social inequity. Biomimicry design can also inspire us to create more innovative and resilient products, processes, and systems that benefit both humans and the environment Biomimicry architecture is a field of design that draws inspiration from nature's forms, processes, systems and strategies to create more sustainable and efficient built environments. Biomimicry can be applied at different levels of scale and complexity, from the organism to the ecosystem, and from the material to the structural system. Here are some examples of biomimicry architecture and their references: Biomimicry Architecture - The National Aquatics Center in Beijing, also known as the Water Cube, was designed by PTW Architects, CSCEC International Design and Arup. The structure was inspired by the natural formation of soap bubbles and cells, creating a lightweight and translucent skin that allows natural light and solar energy to enter the building. The ETFE (Ethyl tetrafluoroethylene) cladding also reduces the energy consumption for heating the pools and provides acoustic insulation. - The Milwaukee Art Museum in Wisconsin was designed by Santiago Calatrava and features a movable sunscreen called the Burke Brise Soleil. The sunscreen resembles the wings of a bird and can open and close according to the weather conditions and the position of the sun. The sunscreen also enhances the aesthetic appeal of the museum and creates a dynamic relationship with the surrounding landscape. - The Beijing National Stadium, also known as the Bird's Nest, was designed by Herzog & de Meuron and Arup for the 2008 Olympics. The structure mimics the appearance of a bird's nest made of twigs, creating a complex and organic geometry that contrasts with the regularity of the concrete seating bowl. The steel frame also serves as a cladding system that fills the gaps with ETFE panels to provide protection, insulation and natural lighting for the spectators. - The Eden Project in Cornwall, UK, was designed by Grimshaw Architects and Arup. The project consists of two biomes that house different plant species from around the world. The biomes are made of hexagonal and pentagonal ETFE cushions that form geodesic domes inspired by soap bubbles. The cushions are self-supporting and can adapt to different loads and pressures. The ETFE material also allows maximum light transmission and minimizes heat loss. Biomimicry Architecture - The Eastgate Centre in Harare, Zimbabwe, was designed by Mick Pearce and Arup. The building was inspired by the termite mounds that regulate their temperature by opening and closing vents throughout the day. The building uses a similar passive cooling system that relies on natural ventilation, thermal mass and chimneys to maintain a comfortable indoor climate without air-conditioning. The building also saves up to 90% of energy compared to conventional buildings. References: : https://www.archdaily.com/954004/what-isbiomimetic-architecture : https://www.re-thinkingthefuture.com/rtffresh-perspectives/a952-10-stunningexamples-of-biomimicry-in-architecture/ : https://www.fsb.de/en/project/milwaukee-artmuseum/ : https://www.edenproject.com/ : https://www.grimshaw.global/projects/theeden-project/ : https://inhabitat.com/building-modelled-ontermites-eastgate-centre-in-zimbabwe/ : https://biomimicry.org/biomimicryexamples/#toggle-id-3 Biomimicry Architecture Biophilic and Bionic Architecture Bionic and Biophilic architecture are two approaches that aim to integrate nature and technology in the design of buildings and spaces. Biophilic Architecture Biophilic architecture, on the other hand, is based on the concept of biophilia, which is the innate human attraction to nature and living things. Biophilic architecture seeks to enhance the well-being and performance of the occupants by incorporating natural elements such as light, air, water, plants, and materials into the built environment. Biophilic Architecture Biophilic architecture Biophilic architecture is a design approach that aims to connect human beings with nature in the built environment. It is based on the concept of biophilia, which means "love for life" and was coined by psychologist Eric Fromm and popularized by biologist Edward O. Wilson. Biophilic architecture incorporates natural elements such as light, water, plants, natural materials, textures and shadows into the design of buildings and spaces, as well as organic forms and patterns that mimic nature. Biophilic architecture can improve the comfort, performance and well-being of the people who occupy those spaces, as well as reduce the environmental impact of the construction. One of the examples of biophilic architecture is the ‘Sagrada Familia’ in Barcelona, designed by Antoni Gaudi. The main facade of the church resembles a skeleton made of stone, while the branched columns of the nave imitate the shape of trees and branches. The church also features stained glass windows that create colourful light effects inside the space. Gaudi was inspired by nature and used biomorphic forms to create a unique and expressive architecture that connects with the users and the surroundings. Another example is the ‘ex-Rizzoli’ building in Milan, renovated by Kengo Kuma & Associates. The project involved adding a new facade made of aluminium panels that create a dynamic pattern of light and shadow. The panels also have holes that allow natural ventilation and views of the city. The facade is inspired by the traditional Japanese technique of origami, which uses folding to create complex shapes from simple materials. The project aims to create a contrast between the old and the new, as well as a dialogue between the building and the urban context. Biophilic Architecture A third example is the ‘Bullitt Center’ in Seattle, designed by Miller Hull Partnership. The building is considered one of the greenest in the world, as it uses renewable energy sources, rainwater harvesting, composting toilets, natural ventilation and daylighting systems. The building also features a living roof that hosts native plants and birds, as well as a six-story atrium that brings natural light into the core of the building. The design follows six principles of biophilic design: environmental features, natural shapes and forms, natural patterns and processes, light and space, place-based relationships and evolved human-nature relationships. References: - Biophilic Design | Tag | ArchDaily https://www.archdaily.com/tag/biophilic-design - What is biophilic architecture and how it works - Domus https://www.domusweb.it/en/sustainable-cities/2022/12/06/what-is-biophilicarchitecture-and-how-it-works.html - 6 Principles of Biophilic Design - The Constructor https://theconstructor.org/architecture/principles-of-biophilic-design/564602/ Biophilic Architecture These distinctive characteristics yield a set of five conditions for the effective practice of biophilic design. Each underscores what is and IS NOT biophilic design: 1.Biophilic design emphasizes human adaptations to the natural world that over evolutionary time have proven instrumental in advancing people’s health, fitness, and wellbeing. Exposures to nature irrelevant to human productivity and survival exert little impact on human wellbeing and are not effective instances of biophilic design. 2.Biophilic design depends on repeated and sustained engagement with nature. An occasional, transient, or isolated experience of nature exerts only superficial and fleeting effects on people, and can even, at times, be at variance with fostering beneficial outcomes. 3.Biophilic design requires reinforcing and integrating design interventions that connect with the overall setting or space. The optimal functioning of all organisms depends on immersion within habitats where the various elements comprise a complementary, reinforcing, and interconnected whole. Exposures to nature within a disconnected space – such as an isolated plant or an out of context picture or a natural material at variance with other dominant spatial features – is NOT effective biophilic design. 4.Biophilic design fosters emotional attachments to settings and places. By satisfying our inherent inclination to affiliate with nature, biophilic design engenders an emotional attachment to particular spaces and places. These emotional attachments motivate people’s performance and productivity, and prompt us to identify with and sustain the places we inhabit. Biophilic Architecture 5. Biophilic design fosters positive and sustained interactions and relationships among people and the natural environment. Humans are a deeply social species whose security and productivity depends on positive interactions within a spatial context. Effective biophilic design fosters connections between people and their environment, enhancing feelings of relationship, and a sense of membership in a meaningful community. Unfortunately, modern society has insufficiently supported the human need to affiliate with nature, erecting various obstacles to the satisfying experience of the natural world, often treating nature as simply raw material to be transformed through technology or a nice but NOT necessary recreational and aesthetic amenity. This increasing separation from nature is reflected in much of our modern agriculture, manufacturing, education, healthcare, urban development, and architectural design. Biophilic Architecture Biophilic Architecture Biophilic Architecture Biophilic Architecture Biophilic Architecture Bionic Architecture Bionic and biophilic architecture are two approaches that aim to integrate nature and technology in the design of buildings and spaces. Bionic architecture is inspired by the forms, structures, and functions of living organisms, and uses biomimicry to create innovative and efficient solutions. Bionic architecture Bionic Architecture Bionic architecture is a contemporary movement that studies the physiological, behavioural, and structural adaptions of biological organisms as a source of inspiration for designing and constructing expressive buildings. These structures are designed to be self-sufficient, being able to structurally modify themselves in response to the fluctuating internal and external forces such as changes in weather and temperature. Bionic architecture aims to create a harmonious relationship between nature and society, by using high-tech, artificial materials and techniques to conserve energy and materials, lower the consumption of construction and increase the practicality and reliability of their building structures. The term 'bionic' was first used in 1958 by U.S army colonel, Jack E. Steele and Soviet scientist, Otto Schmitt during an astronomer project that focused on research surrounding the field of robotics. They defined bionics as 'the science of systems based on living creatures’. The idea was then expanded upon in 1997 by Janine Benyus, who coined the term 'biomimicry' which referred to 'the conscious emulation of nature's genius'. In 1974, Victor Glushkov published his book The Encyclopedia of Cybernetics, in which he applied the study of bionics to architectural thinking, and claimed that: "Using models of nature as samples, such as plant stems, living leaf nerve, eggshells, engineers create durable and beautiful architectural structures: houses, bridges, movie theatres, etc." Bionic Architecture Bionic architecture is based on the observation and analysis of various biological life forms and their interactions with their environment. By understanding the complex relationships between form, material, and structure, architects can design buildings that are adaptive, resilient, and efficient. Some examples of bionic architecture are: - Villa F by Christoph Hesse Architects: A house in Germany that mimics the shape of a mountain range and uses natural materials such as wood and stone. The house also features a geothermal system that provides heating and cooling. - The City as an Organism by TLS Landscape Architecture: A proposal for the Bay Area Challenge that envisions a network of urban villages that are connected by green corridors and waterways. The design draws inspiration from natural systems such as watersheds, forests, and wetlands. - Bionic Tower by LAVA: A concept for a vertical city that resembles a tree trunk with branches. The tower is designed to be self-sufficient, using renewable energy sources such as wind, solar, and biomass. The tower also incorporates vertical gardens, rainwater harvesting, and waste recycling. Bionic architecture is not only a way of creating expressive and sustainable buildings, but also a way of rethinking the relationship between humans and nature. By learning from the wisdom of nature, architects can design buildings that are not only functional and beautiful, but also respectful and harmonious with their surroundings. Bionic architecture is a creative method of absorbing the laws of world growth and natural ecology. Bionic Architecture : https://en.wikipedia.org/wiki/Bionic_architecture : https://www.wikiwand.com/en/Bionic_architecture : https://www.atlantis-press.com/article/125964766.pdf : https://en.wikipedia.org/wiki/Bionic_architecture : https://www.wikiwand.com/en/Bionic_architecture : https://en.wikipedia.org/wiki/Biomimicry : https://www.atlantis-press.com/article/125964766.pdf Bionic Architecture Bionic Architecture Dynamic Architecture Dynamic Architecture Dynamic Architecture Dynamic architecture is a field of architecture that explores the use of dynamic elements to create buildings that can change their form, shape, or function over time. Dynamic elements are parts of a building that can move, rotate, expand, contract, or transform in response to various factors, such as environmental conditions, user preferences, functional needs, or aesthetic goals. Dynamic architecture aims to achieve three main innovations: changing and moving shapes of structures, rapid building with pre-fabricated industrial units, and self-production of clean energy . Some of the benefits of dynamic architecture are: - It can enhance the performance and efficiency of buildings by adapting to the changing needs and preferences of the users and the environment. For example, dynamic facades can control the temperature and ventilation of the interior spaces by creating different patterns of light and shadow, reducing the need for artificial heating or cooling . - It can create more diverse and engaging experiences for the occupants and the viewers by offering different perspectives and impressions of the buildings. For example, rotating floors can provide panoramic views of the surroundings, while moving rooms can create different spatial configurations and functions . - It can foster innovation and creativity in the design and construction processes by challenging the conventional notions of static and rigid structures. For example, pre-fabricated industrial units can enable rapid and flexible building with minimal waste and environmental impact, while kinetic veils can demonstrate the artistic and cultural expressions of the buildings . Dynamic Architecture Here are six examples of dynamic architecture projects from different parts of the world: - Da Vinci Tower, Dubai: This is a proposed 80-floor skyscraper designed by architect David Fischer that would have solar panels, wind turbines, and individual rotating floors. Each floor would rotate around 20 feet per minute and complete a full rotation in 90 minutes, allowing the occupants to enjoy panoramic views of the sea, desert, and the city. The external structure of the building would also change constantly due to the rotations of the floors . - Sharifi Ha House, Tehran: This is a residential building designed by Next Office that has movable rooms that can swivel up to 90 degrees. The rooms are attached to a static core that contains the utilities and services. The rotation of the rooms allows the facade to adapt to the changing seasons and temperatures in Iran, as well as the functional requirements of the floor plan. The concept is inspired by the traditional Iranian houses that have winter and summer living rooms . - Prada Transformer, Seoul: This is a temporary pavilion designed by OMA that hosted various events related to art and design. The pavilion consists of four steel frames covered by a white membrane that form a tetrahedron-like shape. Each frame has a different shape: a hexagon, a square, a cross, and a circle. The pavilion can be lifted and rotated by cranes to create four different floor plans, each corresponding to a different event . - Kiefer Technic Showroom, Austria: This is a showroom building designed by Ernst Giselbrecht + Partner that has a dynamic facade composed of metal panels that can fold and unfold in various configurations. The facade can create different patterns of light and shadow, as well as control the temperature and ventilation of the interior spaces. The facade is controlled by a computer program that can adjust the panels according to the weather or the user's preferences . Dynamic Architecture - Bund Finance Center (Kinetic Building), Shanghai: This is a mixed-use complex designed by Foster + Partners and Heatherwick Studio that features a kinetic building with a moving veil. The building houses a cultural center that hosts exhibitions and performances. The veil is made of bronze tubes that resemble bamboo stems. The tubes can rotate around their vertical axis to create different visual effects and reveal or conceal the glass facade behind them . - Villa Girasole, Verona: This is a rotating house designed by Angelo Invernizzi and Ettore Fagiuoli in 1935. The house consists of two concentric rings: a fixed one that contains the services and utilities, and a rotating one that contains the living spaces. The rotating ring can follow the sun's movement throughout the day, providing natural light and heat to the rooms. The rotation is powered by an electric motor and controlled by a switch . : https://www.re-thinkingthefuture.com/architectural-styles/a2471-10-examples-ofdynamic-architecture/ : https://www.newscientist.com/article/2336385-korean-nuclear-fusion-reactorachieves-100-millionc-for-30-seconds/ : https://www.archdaily.com/522344/sharifi-ha-house-nextoffice : https://oma.eu/projects/prada-transformer : https://www.archdaily.com/80113/kiefer-technic-showroom-giselbrecht-partner : https://www.dezeen.com/2017/02/27/foster-heatherwick-complete-shanghai-artscentre-moving-curtain-facade/ : https://www.atlasobscura.com/places/villa-girasole :https://research.ou.nl/files/33550774/Dynamic_Enterprise_Architecture_Capabiliti es_and_Organizational_Benefits_vfinal_2.0.pdf : https://www.talentguard.com/blog/3-benefits-of-utilizing-a-dynamic-jobarchitecture Dynamic Architecture Material Ecology Organic Architecture Material Ecology Organic Architecture Material Ecology – Neri Oxman Neri Oxman is a designer, architect, and researcher who coined the term and pioneered the field of material ecology, which considers computation, fabrication, and the material itself as inseparable dimensions of design. In this approach, products and buildings are biologically informed and digitally engineered by, with and for nature. Material Ecology Oxman's work explores the possibilities of creating new ways of thinking about materials, objects, buildings, and construction methods, as well as new frameworks for interdisciplinary and interspecies collaborations. One of the main themes of Oxman's material ecology is the use of natural materials and processes to create novel design solutions that are adaptive, resilient, and sustainable. For example, she has developed projects that use silk cocoons, crustacean shells, tree bark, human breath, and bacterial cellulose as sources of inspiration and fabrication. By harnessing the properties and behaviours of these living systems, Oxman aims to create a more harmonious relationship between the built, natural, and biological environments. Another theme of Oxman's material ecology is the integration of digital fabrication technologies and computational design tools to enable new forms of expression and functionality. For example, she has developed projects that use 3D printing, CNC milling, robotic weaving, and bioprinting to create complex geometries, structures, and patterns that are informed by natural phenomena such as growth, decay, erosion, and morphogenesis. By using these technologies and tools, Oxman seeks to expand the design space and the design vocabulary beyond conventional methods and materials. Material Ecology Some of the examples of Oxman's material ecology projects are: - Silk Pavilion: A dome-like structure that was 3D printed with a robotic arm using silk threads, and then completed by live silkworms that spun their cocoons on the scaffold . The project demonstrates the potential of integrating biological and digital fabrication methods, as well as the possibility of creating biodegradable and renewable materials. - Aguahoja: A series of large-scale sculptures that were 3D printed with water-based biopolymers derived from organic matter, such as cellulose, chitosan, or pectin . The sculptures are designed to change their shape, colour, and texture in response to environmental conditions, such as humidity or sunlight. The project explores the concept of "material life cycles", where objects can be grown, used, and decomposed in harmony with nature. - Vespers: A collection of 3D printed masks that were inspired by ancient death masks and designed to express different aspects of human identity, such as culture, history, or spirituality . The masks are made of various materials, such as synthetic melanin, silk protein, or bioplastic. The project investigates the relationship between life and death, and the potential of using synthetic biology to create new forms of expression. Material Ecology A third theme of Oxman's material ecology is the development of new paradigms for interdisciplinary and interspecies collaborations that challenge the boundaries between art, science, engineering, and biology. For example, she has developed projects that involve collaborations with scientists, engineers, artists, designers, musicians, and even bees, silkworms, bacteria, and algae. By engaging with these diverse partners and perspectives, Oxman hopes to generate new knowledge and new possibilities for the future. Oxman's material ecology has been widely recognized and exhibited in various venues such as the Museum of Modern Art (MoMA), the Centre Pompidou, the Smithsonian Institution, the Cooper Hewitt Design Museum, and the World Economic Forum. She is also the Sony Corporation Career Development Professor and Associate Professor of Media Arts and Sciences at the MIT Media Lab, where she founded and directs the Mediated Matter research group. Her work has been published in journals such as Nature, Science, PNAS, Architectural Design, and Scientific American. Oxman's material ecology is not only a new way of designing and making things but also a new way of thinking about the world. It is a philosophy that embraces complexity, diversity, interdependence, and co-evolution. It is a vision that proposes a more symbiotic and ecological approach to design that respects nature's wisdom and creativity. Material Ecology Container Architecture Adaptable Architecture Container Architecture Container architecture James Stirling was a British architect who designed many innovative and influential buildings in the 20th century. One of his projects was the Container Adaptable Community Centre, which he proposed as his university thesis in 1950 . The idea was to use shipping containers as modular units that could be arranged and rearranged according to the needs of different communities and contexts. The containers would provide spaces for various functions, such as education, health, recreation, and social services. The project was never built, but it showed Stirling's interest in flexible and adaptable architecture that could respond to changing circumstances and demands. The concept of using shipping containers for architecture has been explored by many other architects and designers since then. Some of the advantages of this approach are that containers are widely available, cheap, durable, and easy to transport and assemble. They can also be recycled and reused, reducing the environmental impact of construction. Some of the challenges are that containers have limited dimensions, require insulation and ventilation, and may not meet local building codes or regulations. Moreover, some critics argue that container architecture is a form of gentrification or exploitation that ignores the social and cultural context of the places where it is implemented . Container Architecture Some examples of container architecture projects are: - The Keetwonen student housing complex in Amsterdam, which consists of 1,000 containers stacked in five stories. The project was completed in 2006 and offers affordable and comfortable living spaces for students. Each container has its own kitchen, bathroom, balcony, and internet connection . - The Container City in London, which is a mixed-use development that includes offices, studios, workshops, and residential units. The project was started in 2001 and has expanded over the years with different phases. The containers are painted in bright colors and arranged in various configurations to create a dynamic and creative environment . - The WFH House in Wuxi, China, which is a prefabricated house that uses three containers as the main structure. The project was completed in 2012 and features a green roof, solar panels, rainwater collection system, and bamboo flooring. The house can be adapted to different climates and locations and can be easily disassembled and relocated . These projects demonstrate the potential of container architecture to provide innovative and sustainable solutions for various needs and situations. However, they also raise questions about the aesthetic, ethical, and social implications of this type of architecture. As James Stirling's Container Adaptable Community Centre suggests, container architecture is not only a matter of form and function, but also of context and meaning. Container Architecture Container Architecture Container Architecture Container Architecture Container Architecture Organic Architecture Organic Architecture Organic Architecture Organic Architecture Organic architecture is a design philosophy that seeks to create buildings that are in harmony with their natural surroundings and human needs. Organic architecture is not a style, but a principle that guides the form and function of a structure. Organic architecture is inspired by nature, but not imitative of it. Organic architecture is responsive to the site, climate, materials, and users of a building. One of the pioneers of organic architecture was Frank Lloyd Wright, who believed that a building should grow from its environment and express its purpose. Wright designed many iconic examples of organic architecture, such as Fallingwater, Taliesin West, and the Solomon R. Guggenheim Museum. Wright's organic architecture was influenced by his appreciation of Japanese art and culture, as well as his own American roots. Another influential figure in organic architecture was Antoni Gaudí, who created whimsical and expressive structures in Barcelona, Spain. Gaudí's organic architecture was inspired by his religious faith and his fascination with natural forms, such as plants, animals, and shells. Gaudí's organic architecture was characterized by his use of curved lines, mosaic tiles, and organic shapes. Some of his most famous works include the Sagrada Familia, Casa Batlló, and Park Güell. Organic architecture is not limited to a specific time or place, but has been adopted by many architects around the world who share a similar vision of creating buildings that respect and enhance their environment. Some examples of contemporary organic architecture are the Sydney Opera House by Jørn Utzon, the Lotus Temple by Fariborz Sahba, and the Eden Project by Nicholas Grimshaw. These buildings demonstrate how organic architecture can create innovative and beautiful solutions for different cultural and ecological contexts. Organic Architecture Organic Architecture Organic architecture is a philosophy of architecture that promotes harmony between human habitation and the natural world. It aims to create buildings, furnishings, and surroundings that are well-integrated with the site and reflect the symbiotic ordering systems of nature. The term was coined by Frank Lloyd Wright, who was inspired by his rural upbringing and his observation of natural forms and processes. Wright described organic architecture as a way of serving the whole of life and exalting the simple laws of common sense or of super-sense. [1] One of the key propositions of organic architecture is simplicity and repose, which means avoiding unnecessary complexity and ornamentation, and instead focusing on the essential qualities of the design. Another proposition is integrity, which means respecting the nature of materials, structures, and functions, and using them honestly and appropriately. A third proposition is continuity, which means creating a unified and interrelated composition that unfolds from the seed within. [2] Some examples of organic architecture are Wright's own masterpieces, such as Fallingwater, a house that blends seamlessly with the waterfall and rocks on which it is built, or the Solomon R. Guggenheim Museum, a spiral-shaped building that mimics the organic growth of a shell. Other architects who have followed or adapted the organic approach include Louis Sullivan, Rudolf Steiner, Hans Scharoun, Hugo Häring, Udo Heimermann, Reima and Raili Pietilä, Eugene Tsui, and Paul Laffoley. [1] [3] Organic architecture is not only a style, but also a worldview that seeks to foster a harmonious relationship between humans and nature. It challenges the conventional notions of geometry, symmetry, and regularity, and instead embraces the diversity, complexity, and dynamism of natural forms. It also advocates for sustainability, health, conservation, and diversity in design. [4] Organic Architecture Organic architecture is not only concerned with aesthetics, but also with sustainability and social responsibility. Organic architecture aims to minimize the environmental impact of a building by using renewable energy sources, natural ventilation, passive heating and cooling, rainwater harvesting, and recycled materials. Organic architecture also strives to create spaces that are comfortable, healthy, and adaptable for the people who use them. Organic architecture promotes a sense of community and connection with nature. Organic architecture is not a fixed or rigid concept, but a dynamic and evolving one that reflects the changing needs and values of society. Organic architecture is open to experimentation and innovation, as well as to learning from the past and the present. Organic architecture is not a dogma, but a dialogue between the architect, the client, the users, and the environment. Organic architecture is not an end, but a means to create buildings that are living expressions of life. Organic Architecture Organic architecture can be seen as a form of biomimicry, which is the imitation of nature's models, systems, and elements to solve human problems. Biomimicry can be applied to various fields such as engineering, medicine, agriculture, transportation, and communication. By learning from nature's wisdom and innovation, biomimicry can help humans create more efficient, resilient, adaptable, and regenerative solutions. [5] Organic architecture can also be seen as a manifestation of Gaia theory, which proposes that the Earth is a living system that regulates itself to maintain optimal conditions for life. Gaia theory suggests that humans are not separate from nature, but part of it, and therefore have a responsibility to protect and nurture it. Gaia theory also implies that humans can learn from nature's feedback mechanisms and selforganization principles to create more harmonious and balanced societies. [6] References: [1] https://en.wikipedia.org/wiki/Organic_architecture [2] https://www.scienceabc.com/innovation/what-is-organicarchitecture.html [3] https://www.masterclass.com/articles/organic-architecture-guide [4] https://www.organicarchitect.com/organic-architecture [5] https://biomimicry.org/what-is-biomimicry/ [6] https://www.gaiafoundation.org/what-is-gaia/ Organic Architecture Organic Architecture Burrell Collection Architecture Paul van Schaik is an architect, author, educator, publisher, mentor, facilitator, and trainer. He is an international development adviser to many Development Banks, Governments, and development agencies. Paul van Schaik A UK trained Architect with extensive global experience doing pioneering work with passive solar energy in the 1970/90s in Africa and Australia, he was on the awardwinning team for the Burrell Museum in Glasgow, and tutored at the Architectural Association School of Architecture, London He is the founder of integralMENTORS (2008); integral Urban Hub (2014); IUH Publishing (2014); and iSchaik Development Associates (1991). He is also the cofounder of Integral Without Borders (2005) ; The ThriveAbility Foundation (2012) and Living Cities Earth ( 2022), and a founding member of the Integral Institute (1999). He was an advisor to C40 Cities Thriving Cities initiative. He has written and curated several books and presentations on various topic, using an integral and other frameworks that considers the multiple dimensions of human and urban development. As creator and managing editor of Urban Hub, he has produced a series of books that explore the concept of thriveable cities and worlds from an integral perspective. He has over 40 years of field experience in Africa, Asia, Australia, Europe and the Middle East, where he has worked on various projects related to social and ecological sustainability, cultural diversity, and human development. His vision is to foster a meta-pragmatic approach that can integrate multiple worldviews and perspectives in a creative and generative process. He believes that no one vision is sufficient in and of itself, and that visions can guide but only by collaborative action can they become part of an ongoing positive sociocultural reality. He advocates for the cultivation of healthy versions of all the different worldviews that can contribute to an equitable, regenerative, and caring world living within the planetary boundaries. He also emphasizes the importance of action over talk, and of stepping into the world rather than only talking of the world.. Paul van Schaik is a visionary thinker and leader who aims to inspire and empower others to create positive change in their communities and the world. He believes that thriveable cities are not only possible but necessary for the survival and flourishing of humanity. He invites everyone to join him in this quest for a more integral, holistic, and compassionate way of living on Earth. Urban Hub series Guides for Integrally Informed Practitioners The Guides for Integrally Informed Practitioners (adjacent) cover much of the theory behind the Integral Meta-framework used in these volumes. For topics covered in other volumes in this series see the following page. Urban Hub Series These books are a series of presentations for the use of Integral theory or an Integral Meta-framework in understanding cities and urban Thriveability. Although each can stand alone, taken together they give a more rounded appreciation of how this broader framework can help in the analysis and design of thriveable urban environments. Key to an Integral approach to urban design is the notion that although other aspects of urban life are important, people (sentient beings), as individuals and communities, are the primary ‘purpose’ for making cities thriveable. All other aspects (technology, transport & infra-structure, health, education, sustainability, economic development, etc.) although playing a major part, are secondary. Pdf versions are gratis to view & download @: https://www.slideshare.net/PauljvsSS Hardcopies can be purchased from Amazon Urban Hub series August 2016 SPANISH September 2023 Integral Africa 37 URBAN HUB 36 URBAN HUB URBAN HUB 34 39 October 2023 URBAN HUB August 2023 URBAN HUB July 2023 Wisdom Community 35 40 Pub. April 2022 Other books published by iUH Publishing Notes A series of books from integralMENTORS Integral UrbanHub work on Thriving people & Thriveable Cities Integral UrbanHub Thriveable Worlds Urban Hub Architecture & Change 33 No one vision is sufficient in and of itself – visions can guide but only by collaborative action in a creative generative process can visions grow and become part of an ongoing positive sociocultural reality. Without taking into account the many worldviews that currently co-exist and crafting ways of including them in a positive and healthy form we will continue to alienate vast sections of all communities of humankind.