Modular meeting spaces and booths exemplify the reuse and recycling of both materials and spatial resources in eco-friendly design.

Proper use of natural light is emphasized as a sustainable strategy for healthier environments.

Architect Gloria Cabral reflects on her upbringing in São Paulo and Paraguay, underscoring the importance of understanding and respecting local wisdom in design.

She recounts personal experiences with local parks and buildings, highlighting the interconnection between people and place.

Cabral notes that sustainability involves making the most of available resources and considering cycles of use, with no inherently good or bad material—only mindful application matters.

She describes design challenges like reusing scaffolding post-construction and rethinking traditional materials such as bricks and wood for sustainable solutions.

The evolution of sustainable design is illustrated by innovations recognized in Fast Company’s Innovation by Design Awards.

Historically, eco-friendliness has been integral to good design, with adaptive reuse of existing structures as a core principle of green building.

A conversation with Holcim Award Winners reveals how sustainable architecture acts as a catalyst for social change and inclusivity.

Guto Requena discusses how technology—including sensors and programming—enables adaptive, kinetic architecture linking nature and built space.

The democratization of design tools, like smartphone-based environmental scanning, allows broader participation in sustainable projects.

Traditional building techniques are recognized for their potential to create long-lasting, green homes.

There is a call to revisit the past to inform ecological futures.

Co-creation and participatory design are seen as strategies to generate new knowledge in architecture.

Projects already demonstrate urban quality improvements affecting both individual communities and broader cities.

Modular meeting spaces and booths exemplify the reuse and recycling of both materials and spatial resources in eco-friendly design.

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World Environment Day: 5 sustainable and eco-friendly design ideas that can transform your workplace into a green haven

Jun 04, 2023 05:47 PM IST

On this World Environment Day, embrace a greener future with these five innovative and sustainable design ideas to transform workspaces into eco-conscious hubs.

World Environment Day, celebrated annually on June 5, is a global initiative that raises awareness about pressing environmental issues. It is a reminder of our responsibility to protect the planet. With an increasing focus on environment-friendly practices, "future of workplace" has evolved into a more sustainable approach to design spaces that we work in. Creating a sustainable workspace is not only beneficial for the environment but also for the well-being and productivity of employees. In honour of World Environment Day, let's discover five innovative and practical design ideas that can transform your workplace into a green haven, fostering sustainability and eco-consciousness. (Also read: 5 environment-friendly and cost-effective home design strategies )

Sustainable Workspace Design Ideas

Apoorv Mittal, Architect, Concept Consilio India Pvt. Ltd, shares with HT Lifestyle, five innovative design ideas that not only enhance productivity and well-being but also prioritise environmental sustainability.

1. Use furniture and fixtures that are sourced locally

A huge part of designing a space sustainably is to source all the furniture and fixtures locally. This cuts down immensely on carbon emissions in transportation and in turn, helps in reducing building costs of the project.

2. Provide green areas in and around the office

Pockets of green around the office can create a net positive impact on the well-being of the users as well as give the space a refreshing energy. Furthermore, there can be several HR initiatives that can help support the biophilic nature of this design scheme; such as "adopt a plant" and the use of hydroponic plants.

3. Use of modular meeting spaces and booths

Modular meeting spaces and modular booths are great innovations in truly reusing and recycling not only the waste that we create but also the spaces we use. Using such modular settings enables the design to last longer, which in turn leads to a more sustainable approach.

4. Proper use of natural light

Designing efficiently to maximize the use of natural light can reduce the load of electricity consumed by a space. On similar lines, the use of diffused light should be considered and utilised as much as possible to increase visibility while reducing the heat incurred. This brings down the air conditioning needs of the design as well.

5. Utilizing eco-friendly materials

The utilization of eco-friendly materials involves employing natural alternatives instead of synthetic products, which not only imparts a visually appealing natural aesthetic but also contributes to a more environmentally friendly approach. An example of such an alternative is the use of cork boards as a substitute for synthetic materials in the construction of acoustic panels. By opting for cork boards, we not only achieve a rich natural appearance but also prioritize sustainability and the preservation of our ecosystem.

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Proper use of natural light is emphasized as a sustainable strategy for healthier environments.

Architect Gloria Cabral reflects on her upbringing in São Paulo and Paraguay, underscoring the importance of understanding and respecting local wisdom in design.

Title:

Content: Gloria Cabral: “Everything Begins With the Wisdom of a Place”

Gloria Cabral: “Everything Begins With the Wisdom of a Place”

Born in Brazil and educated in Paraguay, Gloria Cabral is an architect who early on learned that home can be many places—or none at all. Guided by a comprehensive understanding of the geography, culture, and social conditions of the places she designs, she has left her mark on buildings and artistic installations constructed in various locations, from Assumption to Venice.

Besides her interest in the specificities of the places where she operates, Gloria focuses on resource economy and material reuse — a trending theme that Gloria has championed for over fifteen years. We had the opportunity to speak with the architect about her experiences in Paraguay and Brazil, some of her works involving recycled brick, and her insights into architecture and sustainability.

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Romullo Baratto (ArchDaily): Until recently, I did not know you were Brazilian. I always thought you were Paraguayan. I would like to hear about your childhood in these two countries.

Gloria Cabral: My parents are Paraguayans, and they came to work in São Paulo. They already had two children at the time, but my younger sister and I were born in São Paulo. We lived on Bela Cintra Street, right in the center. Last year, I visited the building where we lived. It's still there, small and beautiful. It's curious how, upon visiting, I realized that it is actually much smaller than the image I had in my memory.

In my childhood, we spent a lot of time at MASP and Ibirapuera Park. My mother loved Ibirapuera and even studied landscaping there with Burle Marx. When I was six, we returned to Paraguay, and at the age of nine, I joined the Colegio Experimental Paraguay-Brasil, designed by Affonso Eduardo Reidy. That was my journey from one marvelous building to another. I completed my entire elementary education in that building and was fascinated by those concrete structures. I knew they were not just for providing shade. It was great to walk under those beams during recess.

RB: In interviews, you often mention that you are neither from here nor there, and your father used to say you're a citizen of the world. This brings to mind the word "desterrar" (to be unrooted or without land). Perhaps you are a kind of unrooted person or, even more, someone with many "lands"—many places to call home. This seems an essential aspect of your personal story. How has this influenced how you perceive and practice architecture, a discipline so deeply connected to a sense of place?

GC: Interestingly, I find myself in situations where people do not know if I am Paraguayan or Brazilian. But now, I truly feel I belong to both places. I have this fondness for putting down roots wherever I go. For feeling like I belong to the local culture. For taking off my shoes and sensing the energy of the place.

I enjoy sensing and understanding how people live in each location. Once this is comprehended, I try to envision how to enhance these spaces. That is our tool – how we can improve people's quality of life by changing scales and altering the proportions of spaces. I do not believe there is only one way to think about architecture. There are thousands of approaches for each situation.

When someone commissions a project, be it for an office, a house, or anything else, understanding the context and the way people live enables us to envision improvements. By grasping the unique dynamics of the place, we can always find ways to enhance it not just for the client, but for everyone around them. And what works here might be entirely different in Stockholm, for example. But I can work both here and in Stockholm with bricks and demolition materials. Creating shade in a place with only 6 hours of sunlight in winter does not make much sense. Designing a place that offers shelter and protection with the same materials, that's when it starts to make sense.

RB: You started designing in Paraguay. How did the landscapes there influence your projects?

GC: In Paraguay, after finishing high school, I was not sure if I would study architecture, medicine, or something related to mathematics. I chose architecture, perhaps influenced by my mother. Initially, the university seemed trivial, concerned only with aesthetics and what was trendy at that moment. When I realized that we could bring about change through architecture, that it is our tool for making the societal transformations we desire, that's when I truly started to enjoy the profession. I was on the verge of quitting the course when I discovered the work of Gabinete de Arquitectura. Understanding how we could change society through our discipline made me realize that this was what I wanted to do.

One characteristic of Paraguay's landscape is that temperatures can reach almost 50ºC. So, my practice revolved around figuring out how to create architecture that does not rely heavily on air conditioning. At Gabinete de Arquitectura, our research heavily focuses on creating shading structures to shield us from the sun — a crucial aspect that has always held great value in Paraguay. The challenge now is dealing with extreme heat in places not accustomed to such temperatures. It has become a global necessity: architecture that is not heavily dependent on air conditioning, incorporating passive comfort strategies.

I believe everything begins with the wisdom of a place. However, when you not only understand what to do but also why you're doing it, wisdom transforms into adaptable knowledge applicable to any region.

RB: I have realized that your approach to architecture extends beyond conventional aspects of geography like territory, topography, biomes, and climate. Your comprehensive view of geography also embraces the social aspect. This is evident in the practices at Gabinete de Arquitectura, where there's a distinct interest in the materiality of brick, particularly due to its connection with Paraguayan culture. In Latin America, characterized by economic scarcity, it seems there is an expansion in the understanding of the landscape that goes beyond mere territory considerations to encompass social and economic spheres.

GC: Certainly! For example, when clients approached Gabinete, we aimed to maximize the built area within the available budget. A good example is the rehabilitation project for Teletón: the funds available would cover only a third of the required area, and there was a long waiting list of children in need. I knew that if we could lower the cost per square meter, we could offer more built space and provide all the necessary services, such as physiotherapy, hydrotherapy, and speech therapy.

If we didn't construct the entire necessary area, the children would have to wait until the following year to receive certain treatments. That was the pressure the project was under.

Doing this required a significant planning effort to reuse all the demolished bricks. However, it was crucial to ensure that reusing them did not incur an additional cost in the budget. When I talk about economic issues, it is not a matter of finances. It is about energy savings. If we were to reuse the bricks in the Teletón project, we would have to clean the demolition bricks and then prefabricate the closure modules again, for instance. At that time, bricks were inexpensive in Paraguay, so the cost of buying new bricks, breaking them, and using them, or taking demolition bricks, breaking them, sorting them, and using them was practically the same.

However, I knew we would save on the energy spent in producing new bricks and allocate about 65% of the budget to labor, instead of new materials, by using demolition bricks. This would involve more work and more people on the construction site, resulting in less embodied energy. It also meant more complications, especially when dealing with the inherent challenges of working with people. Certainly, it was easier to call a supplier and order new bricks than to plan and calculate everything that reuse entailed.

We were also going against all members of the Foundation's Board, who wanted to build quickly. It required calculating how many people we needed to hire to avoid exceeding the deadline and not spending more money. In the office, this meant a lot more work. The same happened with the glass we used, all from rejected tempered glass with flaws. By purchasing these glasses and using them creatively in the openings, we reduced glass expenses to one-fifth, and with that savings alone, we managed to build an additional 300 square meters. That was the challenge: how to do more with less.

RB: I immediately made a connection with your indecision between architecture and mathematics. It seems your approach to architecture is closely intertwined with mathematics, calculations, and spreadsheets. A pragmatic approach that involves solving a complex puzzle.

GC: When I joined Gabinete, we spent more time working on Excel spreadsheets than on actual drawings, seeking ways to cut the budget. The spreadsheet was crucial. It is not just mathematics; it is logic. We exchanged this for that and opted for this glass instead of that one...

RB: Yet, it is socially and economically responsible, and using the word everyone employs, sustainable. In the end, it is about saving resources. It is a logical exercise, as you mentioned, to do more with less.

GC: Exactly. When I started giving lectures in 2008, our projects were seen as picturesque. A novelty, something unusual. Now, people call me because they need to learn new ways of building. Especially in Europe, where there are already many laws in this regard, they are seeking examples and different ways of practicing architecture. The questions are all practical. "How did you do this?" "How do you work with bricks in this way?" "Is it possible to do it with wood?" These questions are frequent. They indicate an urgent interest in reusing materials that would have been discarded and turned into waste before.

For me, the idea of disposal, of waste, shouldn't exist. It's incongruent with the notion of sustainability. Everything has to be part of the cycle. We are discriminating against a material, setting it aside, but it's not to the side; it's right there.

RB: This material will be somewhere on the planet...

GC: Certainly. I am starting a research project with an artist here in Santa Catarina who works with discarded fishing nets. She began weaving and creating sculptures with these nets, which are usually thrown into the sea. A single boat can have about 30 of these nets. I am exploring how they can be used in the construction of prefabricated elements. In other words, it is about using what we have around us. Here, perhaps it is not bricks but fishing nets — it is essential to observe the specificities of the place.

It is clear that, in other situations, it will be necessary to produce new materials. There is no good or bad material. There are no villains. The material itself is not bad. Concrete is not bad. Concrete is great for many things. But we need to think about the best way to use it. If we prioritize demolition materials, the use of concrete becomes a fraction of what would be initially required. Concrete remains great for many things, but we need to find the right equation and the relevance of using a particular material in different contexts.

RB: Speaking of waste and unconventional materials in construction, I read that you are also working with biomaterials. Can you talk about that?

GC: I conduct research when invited to teach at universities. In Panama, Bolivia, Hong Kong, and Paraguay, I guided students to use materials that closed the cycle. We worked with mycelium, algae, cork, bioconcrete, translucent wood, and more. The most interesting part is that, typically, these students continue their research later on. It's a new universe that needs to be explored.

It is not just about stopping the production of materials that do not close the cycle but using traditional materials combined with new ones to close the loop. The idea of waste needs to disappear from our minds.

RB: Parece que esse é o único caminho possível para a arquitetura — e a sociedade — encontrar um equilíbrio. Ainda sobre reuso, gostaria de ouvir você falar sobre seu projeto na última Bienal de Arquitetura de Veneza: um muro, que na verdade é uma tapeçaria, feita com resíduos de vidro e tijolo do próprio local.

GC: I participated in the Rolex Mentor and Protégé Arts Initiative between 2014 and 2015, where I was a protégé of Peter Zumthor. The program has just completed twenty years, and to encourage the protégés — currently numbering more than sixty — Rolex invites them to collaborate on projects that combine their areas of interest.

That is how I began working with the artist Sammy Baloji, whose practice aims to highlight African roots in artistic works in Europe. When we started discussing our collaborative project, he was creating a sculpture in Belgium using bricks produced from material sourced from mining exploration. I was interested in brick production using industrial waste, so we decided to combine our research in the project Debris of History, Matters of Memory.

When Sammy expressed the desire to create a tapestry, I suggested using demolition bricks. We collaborated with the art historian Cécile Fromont and the activist architects' group Mutaforma in Venice. I chose to be involved in the entire process, not just hiring a construction company. We built the wall with local bricks, glass from the region, and a brick box from Belgium with Sammy's material. The variety of colors in the Belgian bricks was a crucial part of the project. When I see people touching the wall, taking pictures of the glass that allows light to pass through, I sense the energy the tapestry conveys.

RB: Brick and tapestry share the same tactile nature: we perceive both with our hands. This aspect of the process you mentioned is evident in the presentation. The scaffolding was kept, right?

GC: No regulation in Italy allows the construction of a wall with a width of 5 cm and a height of 4.5 meters using demolition material.

RB: Did the organization have reservations about removing the scaffolding?

GC: Is it impossible to obtain approval from the relevant authorities and leave the wall unsupported? We assembled the scaffolding as we built, securing props for support and wire ties to maintain compression and prevent the wall from collapsing. Since it was a laboratory, we decided to leave the scaffolding after completion.

RB: In this conversation, we have talked about Paraguay and  Venice, and now I would like to know why you returned to Brazil — and why Guarda do Embaú in Santa Catarina.

GC: For several reasons. Firstly, my sister moved to Florianópolis, which is nearby, 15 years ago. I came here to be closer to her and my nieces. Another reason is my desire to be surrounded by nature. Just yesterday morning, I encountered a lizard in my backyard. Occasionally, amid my meetings, a large blue bird perches on my window and begins to sing. I only bought one pair of shoes during the 3 years I lived here. I avoid using air conditioning, prefer walking everywhere, and only use the car once a week. Such experiences are uncommon in the midst of a city.

What captivates me here is the slow pace. I have realized that skipping work on a Wednesday won't be the end of me; in fact, it's quite the opposite. I dedicate Mondays and Tuesdays to work, reserving Wednesdays for learning something new—whatever it might be. Whether delving into understanding tensions or exploring new structures, Wednesday is my day. If I am keen on picking up a new language, Wednesday is the day for that. Dancing or singing? Wednesday is when I dive into those pursuits. I return to work on Thursday and Friday. Here, I find relaxation, breathe fresh air, and enjoy a good night's sleep.

We need to reflect on how we got to this point. At what moment did humanity enter this cycle? The pandemic revealed to us that it is not necessary (to work every day) and that we can stop at any moment, but we are forgetting it, missing the opportunity to learn something from that period.

For a long time in Paraguay, I used to say, "We should build in this or that way," but every day I would get into my air-conditioned car, drive to the office with air conditioning, and work all day. Twelve hours later, I would leave in my car and return home, turn on the air conditioning, and sleep to do the same thing the next day. Not anymore. If the day is beautiful, I close everything and enjoy the nice day. And when I have a lot to do, I work on Sundays, no problem. But the next day, I rest.

RB: It seems like a worldview quite aligned with the circularity you mentioned earlier. It's good that this came towards the end because it appears that you have not only learned a lot from the landscape of Paraguay but also the landscape of Guarda do Embaú. Today is Wednesday, and I've learned quite a bit too.

GC: It is an interview, a moment of learning together.

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Cite: Baratto, Romullo. "Gloria Cabral: “Everything Begins With the Wisdom of a Place”" [Gloria Cabral: "Tudo começa com a sabedoria de um lugar"] 24 Jan 2024. ArchDaily. (Trans. Simões, Diogo) Accessed . <https://www.archdaily.com/1012261/gloria-cabral-everything-begins-with-the-wisdom-of-a-place> ISSN 0719-8884

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She recounts personal experiences with local parks and buildings, highlighting the interconnection between people and place.

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Content: What Is Co-Creation in the Context of Architecture and Urban Planning?

What Is Co-Creation in the Context of Architecture and Urban Planning?

In recent years, the term “co-creation,” a buzzword in the business and management sector, has made its way into the architecture and urban planning discourse. The term is used to define a large concept that describes working intentionally with others to create something jointly. But architecture is already the result of a collaboration between multiple actors, architects, clients, investors, developers, and local administration, to name a few. Can the term still apply to this field, can it bring forth new forms of knowledge, and does it differ from the concept of participatory design?

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The term appears to have originated in the business sector, with some mentions in the early 1990s and its popularization in the 2000s, with C.K. Prahalad and Venkatram Ramaswamy’s article in the Harvard Business Review. The article describes a paradigm shift as globalization and technology developments challenge the traditional role of the expert. The new marketplace is beginning to understand that consumers have become a new source of competence, a source that can be tapped into to increase the value of the product. Now a similar shift is taking place in the world of design.

Since the onset of Modernism, and maybe even before, the image of the architect has been mystified as a strong-willed, free-thinking, and uncompromising figure. In stories such as Ayn Rand’s novel “The Fountainhead,” this romanticized heroic character is caught in a struggle between his own creative vision and the external collective opposition, an image reminiscent of Modernist architects such as Mies van der Rohe or Le Corbusier that has leaked into contemporary renditions of the starchitect. The image of a collective process of design stands in stark contrast to this. As architectural problems are growing in complexity, the necessity to find new methods of communicating and collaborating efficiently increases. Involving not just the typical actors but also the end-users in the design process promises to offer multiple advantages by deepening the understanding of the larger context, empowering communities, and generating long-lasting change.

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The Expert Citizen: A Change of Perspectives in Participatory Design

A Citywide People’s Network: The Example of Jhenaidah

Jhenaidah is a city in southwest Bangladesh built along the Nobogonga River. Despite being an important resource for the city, throughout the years, the river has become neglected, polluted, and even dangerous. A self-initiated local organization set out to change this and return the river to the inhabitants. The resulting project developed through an intensive dialogue between the architects at Co.Creation.Architects, the local municipality, and the local community. Small and accessible interventions along the riverfront transformed it into an accessible, open, and vibrant public space.

One of the keys to this success is the design process that stood behind it. The architects worked closely with the residents, especially the vulnerable groups such as women, children, the elderly, and the disabled. By implementing their inputs, like installing changing cabins or slip-safe paving, the architects ensured that the solutions provided an answer to their specific needs. The architects are also talking about the act of co-creating not just with humans but also with the surrounding natural context. According to them, the process of adapting to the environment is naturally occurring in communities. Thus, the role of the architect is to facilitate communication and bridge the gap between local communities and the authorities and professionals.

Although the project is ongoing, the effects on the quality of urban spaces are visible and felt by the local communities and the city at large. The people are bringing a deeper understanding of their environment while also changing their perspective on it. Once they can affect change in their spaces, they feel more connected to them. This also has a snowballing effect. Once local organizations see that change is possible, more and more initiatives are born, further developing well-adapted and site-specific solutions.

Is Co-Creation Reserved for Public Projects?

Most user-centered design initiatives focus on public spaces and larger communities, making it easy to dismiss the idea when it comes to smaller or privately-owned projects. Here communication with the client is often more straightforward. But the client and the user are not always the same entity. Taking into consideration all those affected by the project and involving them in the process ensures the projects are better fitted to the reals needs and, thus, more profitable for the client or developer.

A housing development in Amsterdam proves the contrary, demonstrating the advantages of involving future residents in the process and giving them the freedom to define their needs, both in terms of individual homes and collective spaces. The EnBloc project by Marc Koehler Architects developed a method for working with future residents in a cohesive and productive way. It uses a Tetris game approach, creating a system of units of 30 or 50 square meters. The units can be linked both vertically and horizontally, allowing the residents to vary the size of their homes according to their needs and budgets. The units were also empty, so the residents worked with the architects to create personalized solutions and create the rooms and spaces they needed. The project looks and feels coherent because f the framework developed by the architects, yet it empowers the residents, who were involved from the start, to create the spaces and communities they wished for.

And something else I find important: you move somewhere where you have known your neighbors for five years. This co-creation element in the design process creates social cohesion. As far as I’m concerned, it should be mandatory in new construction projects. – Iwan, one of the residents of EnBloc

Co-Creation: Beyond Participatory Design

Both terms, co-creation and participatory design, refer to aspects of Human or User-Centered Design, an attitude based on the belief that everybody can meaningfully participate in the act of design. Participatory design is often centered on the involvement factor, aiming to create a design that is centered on the users’ involvement in it. While there are some successful renditions of this concept, it often takes the form of token participation, mimicking involvement but avoiding to enact real change. Participatory design is also interpreted as consulting the community at one stage of the process, picking up the ideas suggested, and moving forward with the process.

On the other hand, Co-design refers to a collective creativity that is applied across the whole span of a design process. The concept understands the users and other parties as sources of competence, exploiting their knowledge about their own needs. The concept is also aligned with Jeremy Till’s idea of the expert citizen, viewing residents as experts in their environment and their needs. The result is a design process based on a collaboration between experts in different fields. Therefore, the users become part of knowledge gathering, idea generation, and concept development. The architect or designer retains responsibility for the design, acts as a moderator between experts and creates the structure of the process of collaboration.

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About this author
Cite: Maria-Cristina Florian. "What Is Co-Creation in the Context of Architecture and Urban Planning?" 17 Nov 2022. ArchDaily. Accessed . <https://www.archdaily.com/992363/what-is-co-creation-in-the-context-of-architecture-and-urban-planning> ISSN 0719-8884

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Cabral notes that sustainability involves making the most of available resources and considering cycles of use, with no inherently good or bad material—only mindful application matters.

She describes design challenges like reusing scaffolding post-construction and rethinking traditional materials such as bricks and wood for sustainable solutions.

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How businesses learned to embrace sustainable design—and where it’s headed next

We look at the winners of Fast Company’s Innovation by Design Awards over the past 10 years as a lens onto a broader shift toward sustainable design thinking.

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When Fast Company launched the Innovation by Design Awards in 2012 to honor creativity in business, just two of the winning entries embraced sustainability as a central design thesis.

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This year, roughly a third of the winners prioritize the environment, ranging from a converted coal power plant to a device that transforms salt water into electricity. As the effects of climate change become increasingly visceral, spreading fires, hurricanes, and other disasters around the globe, design is becoming a crucial tool of adaptation. “Designing for human survival will become the new necessary field of design,” says Slow Factory Foundation founder Céline Semaan in a special Fast Company report on where the industry can have the greatest impact in the next decade.

In some ways, eco-friendliness has always been a key aspect of good design. Legendary industrial designer Dieter Rams declared it nearly 50 years ago, as one of his 10 principles of good design. But the parameters of what constitutes sustainable design have shifted over time. Is a plastic coffee maker that lasts 20 years, but ultimately ends up in a landfill, really sustainable? Today, many designers understand that every part of product development, from the materials used to a product’s afterlife, must be carefully considered to limit waste. Others have gone a step further and found creative ways to actively reuse waste. Forust, the winner of this year’s Innovation by Design Award in materials, uses 3D printing to turn sawdust into furniture, bowls, and other accessories. RED, the winner of 2019’s student Innovation by Design Award, explored using red mud, a waste product of aluminum manufacturing, to create gorgeous ceramics and building materials.

Some designs were simply ahead of their time. An early winner of Innovation by Design was the Fisker Karma, one of the world’s first luxury plug-in electric vehicles. It had a solar panel on its roof and sustainable materials inside, like trim made from salvaged wood. “The Fisker shows what you can do by taking risks in sedan design,” judge Erica Eden of Smart Design said at the time. Shortly thereafter, the company went out of business when its sole battery supplier filed for bankruptcy. Intriguingly, the Karma’s design ideas live on in this year’s winner of the products category, Polestar 2. An electric car spun out of Volvo’s skunkworks lab, it has seat backs crafted from old water bottles and carpet made from fishing nets. It also uses blockchain technology to trace the origin of its cobalt, a key component of lithium-ion batteries that is often mined to devastating effect on both people and the planet. Polestar’s investment in these features shows the long tail of bold design.

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Many of the biggest strides in sustainable design over the past 10 years have come from architects. This may be a case of necessity breeding invention: Architecture and construction are responsible for nearly 40% of global CO2 emissions, an astonishing footprint for an industry that doesn’t garner nearly the attention of polluters like agriculture (representing 11% of global greenhouse gas emissions) and aviation (representing about 2%). Architects have responded with a range of thoughtful solutions, including offices that usher the outdoors in and buildings that generate more power than they consume, but adaptive reuse may be the profession’s most impactful legacy. It’s the idea that one of the greenest ways to build is to reuse what’s already there. In Long Island City in Queens, New York, the architecture firms SWA/Balsley and Weiss/Manfredi converted an abandoned industrial landscape into a 30-acre park that is designed to protect the area from rising flood waters. The project, called Hunter’s Point South Waterfront Park, was an Innovation by Design winner in 2019. Two years later, the Chicago architecture firm Studio Gang has won accolades for another adaptation of industrial space, the Beloit Powerhouse, which transformed a coal power plant into a gym and student center at Beloit College in Wisconsin.

Some areas of design still have a ways to go. Disposable goods remain far too common in retail, and fashion and tech companies are particularly guilty of flooding markets with planned obsolescence in mind. “After nearly 15 years, I am using my fourth iPhone,” Frog Design founder Hartmut Esslinger tells Fast Company in the special report on design’s future impact. “Each time I had to buy a new one because of CPU (central processing unit) performance, [and] I put otherwise perfectly functioning products into my closet.” He calls on designers to extend their thinking beyond products and services to the very economic forces underpinning their work. “Recycling is a good thing, but not enough,” he says. “Design must inspire a new economic model and deliver much more long-term solutions.”

See more from Fast Company’s 2021 Innovation by Design Awards. Our new book, Fast Company Innovation by Design: Creative Ideas That Transform the Way We Live and Work (Abrams, 2021), is on sale now.

About the author

Suzanne LaBarre is the editor of Co.Design. Previously, she was the online content director of Popular Science and has written for the New York Times, the New York Observer, Newsday, I.D

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The evolution of sustainable design is illustrated by innovations recognized in Fast Company’s Innovation by Design Awards.

Historically, eco-friendliness has been integral to good design, with adaptive reuse of existing structures as a core principle of green building.

A conversation with Holcim Award Winners reveals how sustainable architecture acts as a catalyst for social change and inclusivity.

Title:

Content: A Catalyst for Social Change and Equity: In Conversation with Holcim Award Winners Husos, Elli, and Ultrazul

The Holcim Foundation for Sustainable Construction announced the winners of the 2023 edition, celebrating projects that showcase innovative approaches to sustainable construction practices. For the Europe region, the Gold Prize was awarded to Husos, Elli, and Ultrazul for their project “Composition of Knowledge House.” In a video interview with the winners, they explain the details of this rehabilitation project. Developed for the Carasso Foundation headquarters, the project uses an innovative “360° co-design process” to promote inclusivity and community involvement.

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Situated in Madrid, the project prioritizes the adaptive reuse of a former industrial building, retaining 95% of the existing structure. Additionally, its designed business and management models align with impact investing and open governance, incorporating grants for community art and sustainable food production. Using biomaterials and recycled elements also showcases the project’s sustainability and material circularly commitment. Additionally, over one-third of the total floor area is dedicated to multi-purpose spaces that foster community interaction and permeability.

At the project's core is one of the Carasso Foundation’s visions: to select architects capable of cross-disciplinary work. A substantial bioclimatic approach, a life cycle analysis of the materials, and an emphasis on developing multipurpose spaces that promote community engagement are just a few of the creative solutions incorporated into the design. By merging architectural ideas with a sustainable economic framework, the project seeks to become a model for sustainable building.

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From the very beginning, it was clear that we had to be ambitious in ecological terms, respecting the heritage of the city while negotiating design decisions from the constructive detail to the territorial and planetary scale.

Furthermore, the team underlined in the interview how crucial it is to provide communal spaces in European cities that integrate traditionally divided roles like employment, education, and culture. Similar to the multidisciplinary nature of the project, the designers explain that collaborating with different skill sets and having exposure to different lifestyles is what creates strong communities. In fact, according to the speakers, these multifunctional areas are essential for envisioning urban life in the future.

The project redefines sustainable architecture with its embrace of complexity and early integration of community demands. Ultimately, the "Composition of Knowledge House" project's overall goal is to demonstrate how old structures may be renovated to satisfy the needs of contemporary European cities while protecting the region's natural and architectural history. Furthermore, the project highlights how nontraditional and inventive formats for renovating existing structures may be the “key to imagining the future of cities."

Belinda Tato, Co-Founder of Ecosistema Urbano and the chair of the jury for the European Region Holcim Awards praised the winning project for its innovative approach to sustainable construction. She also highlighted the new use of materials and energy efficiency, emphasizing a new design thinking format. Most notably, Tato explains that the winning project offers a solid social approach and acknowledges architecture “as a catalyst for social change and equity.” Overall, the jury particularly appreciated the project’s holistic intervention in an existing building, its mixed-use nature, and the clear presentation of its sustainability metrics.

The Holcim 2023 Europe Region Awards also recognized an Urban Nature Project by Feilden Fowles and J&L Gibbons in the United Kingdom, HAUS 2+ by Office Park Scheerbath in Germany, and High-Rise H1 Zwhatt Site by Boltshauser Architekten in Switzerland. For the Middle East and Africa Award, ArchDaily announced that the founders of Deroché Strohmayer won the gold medal for the design of Surf Ghana Collective. Finally, ArchDaily also had a chance to sit with the Gold Prize Winner for North America for their low-cost modular housing solution for urban living in Toronto.

You can now register on the Holcim Awards 2025 page, where individuals can express their interest and receive notifications when the competition opens.

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Cite: Nour Fakharany. "A Catalyst for Social Change and Equity: In Conversation with Holcim Award Winners Husos, Elli, and Ultrazul" 09 Jul 2024. ArchDaily. Accessed . <https://www.archdaily.com/1018608/refurbished-readapted-reprogrammed-in-conversation-with-holcim-awards-2023-european-winners> ISSN 0719-8884

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Guto Requena discusses how technology—including sensors and programming—enables adaptive, kinetic architecture linking nature and built space.

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Content: Technology, Nature, and Diversity in Architecture: An Interview with Guto Requena

Technology, Nature, and Diversity in Architecture: An Interview with Guto Requena

During July, we delved into the Design Process as our monthly topic. Inspired by practices that intersect various uncommon layers in their creations, we talked with architect Guto Requena. When designing, his studio experiments with different digital technologies through a sustainable lens and with a keen eye on social issues, aiming to deliver innovative and emotional experiences. Today, the architect boasts numerous national and international awards, including the ArchDaily Building of the Year and the UNESCO Prix Versailles.

In the interview, Requena shares his journey, highlighting the diversity of his team as a critical innovation point in his firm. He also addresses crucial questions about fostering innovation and creativity with new materials in architecture, among other topics.

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Victor Delaqua (ArchDaily): In architecture schools, we are taught to think about physical space, but in your projects, you mention the creation of a hybrid architecture in which concrete and the virtual world blend together. How does this fusion influence your design process?

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Guto Requena: During college, great mentors taught me to view architecture from the perspective of form, function, flow, the relationship with the street, and aesthetics. However, no professor encouraged me to approach a fundamental question: does architecture have a role in fostering empathy and collectivity?

This question seems to gain more significance when considering that we are increasingly isolated. There's a significant risk of technology isolating us, but humans are inherently social beings. So, how can we create spaces and experiences that invite people to look at each other and connect? Architecture also has this role, and it's not reinventing the wheel, but the contemporary challenge lies in technology. Beyond concrete, brick, and metal, I can incorporate digital technologies to address this challenge – and there is a materiality and infrastructure for this hybrid and interactive architecture to happen: network cables, microcontrollers, LEDs, sensors, Arduino.

For me, the great fascination was discovering another dimension of experience arising from this hybrid architecture. I researched the topic in the Nomads group at USP for nine years with funding from FAPESP, delved deep into theory, created conceptual projects, and finally, after 15 years, collectively got our hands dirty and executed projects. Seeing architecture harness the power of people looking at each other, coming together, and getting to know each other through this analog and digital fusion is incredibly satisfying. It's a moment of experimentation that goes beyond pure functionality. Of course, since it's experimentation, there may be projects that aren't as successful, but we are the first generation to do this and allow ourselves to investigate.

In the Brazilian context, this becomes a challenge-driven architecture. There are no large budgets, and we still don't have a vast pool of computer scientists or programmers. In these circumstances, we tap into something unique in Brazilian creative thinking: turning the ordinary into the extraordinary. Sometimes, even with more limited resources, we achieve remarkable results. Something vibrant is emerging from this new Brazilian architecture – kinetic, with projections and sensors – and I believe the world will pay more attention to it. It encourages me to see that many students are increasingly interested in this field. There's now a generation learning programming, and that's the turning point: having architects who understand programming. That's why I strongly advocate for teaching programming in architecture schools. Programming is a language; we must teach its basics to future professionals.

Beyond architecture, should programming be included in elementary education? As you mentioned, it's a language. It does help to see the world from different perspectives...

Absolutely. There's another crucial aspect to your comment, which is this another social inequality that's emerging. Today, we see students in [Brazilian] private schools that include programming, robotics, and computing in their curricula. Unfortunately, in most [Brazilian] public schools, these opportunities are absent. This means there's a modus operandi already ingrained in the education of privileged youth who enter architecture programs already familiar with these subjects. So, we run the significant risk of creating a digital divide that exacerbates social inequalities.

Regarding digital advancements, you incorporate various body and environment stimuli into the design process, along with automotive technologies. You bring together factors whose outcomes you may not necessarily control. How does this idea evolve?

A learning process in working with technology and algorithms involves thinking about architecture beyond the physical material. It's about considering it from the perspective of experience and other sensory opportunities. For example, music and audio can make our brains think about spaces, recall places, and connect the body with the environment.

During my master's studies, I became somewhat disillusioned with architecture because I couldn't find examples and answers to these aspirations of understanding that the human body is undergoing a profound transformation. Sensory perception and cognition are undergoing significant shifts due to new digital technologies. So, I stepped away from architecture and began studying philosophy, arts, and places where I found answers. I encountered the theory of the cyborg body, understanding that we are the first generation with organic bodies increasingly intertwined with machinery. Therefore, we have different sensory perceptions and cognition. This gave me a reason to return to architecture and complete my master's. Before delving into architecture, we need to zoom in on the fundamental pixel, which is the human; understanding this transformation and these new behaviors is crucial before zooming out to think about architecture and cities.

When we work with sensors, we must program them to create kinetic architecture. This requires a transdisciplinary perspective, a programming perspective. Something unprecedented and incredibly enriching in terms of the design process is multidisciplinary teams composed of computer scientists, hardware and software engineers, and programmers, all involved in the creative process. So, it's not just the architect creating a beautiful concept and asking someone to execute it. In this process, the engineer is present at the creation table as we seek to understand other possibilities. This isn't entirely new; architecture has always been a multidisciplinary field, but with digital technologies, I believe we're reaching a rich connection point with other areas. When I assemble multidisciplinary teams to create projects, I've noticed that we achieve a much deeper conceptual depth.

A fundamental point when discussing the future of architecture and technology is the issue of race and diversity. Discussions of technology and architecture should no longer be divorced from the issue of race. I have learned, and still have much to learn, how much more exciting and profound my office has become as I've welcomed more Black architects, non-binary individuals, and transgender people into the team. It might sound cliché, but it's a fact. Our projects have become more interesting when we move away from the creation solely by white individuals, a large portion of whom are privileged. Opening this up to the new generation has taken the office to unimaginable places. For me, innovation is increasingly coming not just from technology but from the power of this union of knowledge.

In such a way, diversity, whether in terms of race or gender and sexual orientation, begins to influence paths distinct from the norm or the standard...

Yes, we have several examples, like the recent documentary "Cabaré Eldorado," that demonstrate how queer culture is at the forefront of cultural transformations. Today, I think a lot about the safe spaces within the queer community, places where Black individuals feel safe, and architecture's power in this context. Something is fascinating when we intersect architecture with issues of race and gender. Through them, there's enormous potential for discussing new architectures. And, of course, technology is intertwined with all of this. So, investigating the possibilities of architecture that deviates from the norms – that can be seen as spaces of collectivity, of connection – historically, these have been the domains of the queer and Black communities. In terms of architecture, these spaces are where a revolution is taking place.

Beyond technology, using natural elements is quite prevalent in your practice. How does nature inspire you amidst digital advancements?

The more technologically immersed I become, the more connected I feel to my ancestry and the natural environment. I grew up in the countryside, and I played surrounded by nature during my childhood. It's an environment that has always profoundly influenced my imagination and creativity. Despite becoming increasingly cosmopolitan later on, I've been reconnecting more and more with nature, which has unfolded in my projects.

When we talk about the future, we look at ancestral peoples, and many of them talk about cycles. So, looking to the future also means looking back, encompassing the present and the past. And that makes sense. For example, when we talk about 3D printing in architecture, and it's done with biodegradable materials, we are essentially doing what was done in the past.

Today, we have knowledge and evidence that there were once large cities in the Amazon. Settlements with over 300,000 people were so sophisticated that they left no traces. Only now, through carbon scanning, are we beginning to uncover this history. Therefore, for us Brazilians, there's something potent in this new and urgent architecture because we are culturally connected to something beyond the material. Brazilians, in general, are highly spiritual and can have an expanded field of vision and connect with ancestral values.

And from this perspective, we must look to nature and understand that the future lies within it. We can't continue to build from non-renewable sources. As Ailton Krenak says, we're killing everything, we're killing the rivers. We can't keep going like this.

The construction industry is the second-largest polluting industry, second only to aviation. What role do architects play in this? We need to spread the message and openly acknowledge that we can't keep building with concrete. It's not enough to create a 'sustainable' house with solar panels, LED lighting, and a bunch of green-certified furniture if the entire house is made of concrete, with Black labor – paid a pittance and working in precarious conditions – to build a high-end home, and then seeking certification to label it as sustainable.

So, this return to nature is about developing renewable architecture and adopting biodegradable materials. Additionally, there's the concept of biophilia. How can we integrate architecture into nature? Why aren't architects investigating this enough? In a country like Brazil, where everything grows, why do the most of new developments ignore this?

In my practice, nature enters holistically, tied to ancestry and as a fundamental factor in discussing the future. In my studio, we reached a point where, two years ago, we stopped building with concrete and started exploring other alternatives.

We see this in some projects, such as the Dolce Gusto Neo and Zissou Flagships. In these projects, material innovation takes center stage. How does this material aspect permeate the design process of your firm?

There's a creative ingredient in my team, and it's the pursuit of innovation. Creating innovation takes time and research. That's why we've opened up a dedicated research front and seen some incredible materials emerging. We need to organize ourselves to support and encourage the companies responsible for these innovations. For instance, cladding blocks are emerging from discarded fabrics, Brazilian startups working with mycelium and producing CNC-cuttable panels, and biodegradable polymers derived from insects.

There's a material revolution that needs to be industrialized and scaled up. As architects, we also need to support these projects. I always emphasize this in meetings with my clients, suggesting that when a brand supports a project like this, it's helping an innovation ecosystem. After all, to create a project like this, you need to activate research, universities, and suppliers. So, when we develop a work with these materials, we stimulate and activate an innovation network. It's not just about making a store look beautiful; it goes beyond that.

You've always been closely connected to technological issues, and there's a current issue that can't be ignored: how do you see Artificial Intelligence influencing the architectural profession?

I think there's a lot of potential, and I believe it will profoundly impact architectural education and the training of architects. I do think it will democratize architecture. Today, I already have clients who come with the image of Midjourney, and I have students from other fields at Sorbonne in Paris who don't know how to draw but can now express themselves through images. And that's the power of democratization. Not to mention how, with a smartphone, people can now scan their environment and get a sense of what can be done with it. So, the clients themselves will carry out part of the design process. Architecture will be profoundly transformed. Some architects are afraid and feel threatened by this. I look at it with a certain fascination because it could take architecture to places we haven't yet imagined.

This article is part of the ArchDaily Topics: Design Process, proudly presented by Codesign, the first purpose-built iPad app for the concept design stage of the architectural process.

Codesign turns sketches into 3D building models in moments, with the ability to iterate, explore and understand downstream effects immediately. Architects can explore all the possibilities of a project, and spend more time doing what they love the most, designing. (Codesign was previously known as Spaces)

Every month we explore a topic in-depth through articles, interviews, news, and architecture projects. We invite you to learn more about our ArchDaily Topics. And, as always, at ArchDaily we welcome the contributions of our readers; if you want to submit an article or project, contact us.

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Cite: Delaqua, Victor. " Technology, Nature, and Diversity in Architecture: An Interview with Guto Requena" [Tecnologia, natureza e diversidade na arquitetura: entrevista com Guto Requena] 26 Sep 2023. ArchDaily. Accessed . <https://www.archdaily.com/1007246/technology-nature-and-diversity-in-architecture-an-interview-with-guto-requena> ISSN 0719-8884

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The democratization of design tools, like smartphone-based environmental scanning, allows broader participation in sustainable projects.

Traditional building techniques are recognized for their potential to create long-lasting, green homes.

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Rediscovering Sustainability: Green Homes With Traditional Techniques

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In our fast-paced, technology-driven world, the idea of building a green home using traditional techniques might sound like you’d be taking a step backward. However, it's important that we re-evaluate our approach to sustainability and consider the wisdom that the past has to offer. While modern construction methods offer many conveniences, they can often come at the cost of the environment. Traditional techniques, on the other hand, can help us build truly sustainable green homes that stand the test of time.

A shining example of sustainable building, meticulously designed with a keen emphasis on the utilization of reusable materials and ancient techniques, can be found in the Italian Pavilion from the most recent World Expo. Remarkably, this pavilion stood out as the lone carbon-neutral structure among the 192 pavilions present. The project team used reusable materials like upturned boats for the roof, walls adorned with rope made from recycled bottles, and flooring with recycled orange peel to reduce landfill waste. Notably, the Italian Pavilion didn't have air conditioning despite the desert heat. Instead, it relied on its cleverly designed rope walls for natural ventilation, showcasing an eco-friendly alternative to traditional building practices that contribute to climate change, and demonstrating how sustainability and innovative design can coexist effectively.

Natural Materials

Traditional construction techniques often emphasise the use of natural materials like cob, timber, and straw bales. These materials are chosen for their eco-friendliness and sustainability. Cob, for instance, is a mixture of earth, sand, and straw that can often be locally sourced; timber, when harvested responsibly, is a renewable resource; and straw bales are a byproduct of grain production.

Selecting such materials reduces reliance on resource-intensive manufacturing processes, such as those required for steel or concrete production. Moreover, these materials are biodegradable, meaning they break down naturally, reducing waste and pollution.

Passive Solar Design and Energy Efficiency

Before the advent of modern heating and cooling systems, people relied on intelligent architectural designs to maintain comfortable indoor temperatures. Passive solar design, an ancient technique, uses the orientation of a building and the placement of windows to maximise natural heating and cooling. By embracing this approach, we can significantly reduce our reliance on energy-intensive HVAC systems, resulting in lower energy bills and a reduced environmental impact.

The materials used in traditional construction often provide excellent thermal performance. Thick walls, natural insulation materials like straw, clay, or wood, and thoughtful design create a building envelope that naturally regulates temperature. Therefore, these homes stay cooler in the summer and warmer in the winter.

Finally, these construction methods can work together with modern energy-efficient technologies, such as solar panels or wind turbines, making them even more sustainable and energy-efficient.

Local and Sustainable Sourcing

Traditional construction techniques rely on locally available materials. This supports local economies and reduces the environmental impact of long-distance transportation of construction materials. Using materials from nearby sources minimises carbon emissions associated with transportation, making the construction process more environmentally friendly.

Rainwater Harvesting and Greywater Systems

Traditional techniques often include rainwater harvesting and greywater recycling systems. Rainwater harvesting involves collecting and storing rainwater for non-potable uses like irrigation or toilet flushing. Greywater systems treat and reuse water from sinks, showers, and laundry for similar purposes. These practices reduce the strain on municipal water resources, lower water bills, and minimise the environmental impact of water consumption.

Handcrafted Quality

Older construction methods were rooted in craftsmanship, a dedication to detail, and a commitment to creating structures meant to stand the test of time. The contrast with modern mass production is stark, as the focus on quantity can, on occasion, come at the expense of quality.

By embracing traditional techniques, we can reintroduce the concept of handmade homes. These structures are built to last for generations, reducing the need for frequent replacements and the waste associated with disposable consumer culture.

Preservation of Cultural Heritage

Reviving old-fashioned building techniques offers benefits beyond environmental considerations; it also plays a vital role in preserving our cultural heritage and traditional knowledge. These techniques are integral to our shared history, and by employing them, we establish a connection with the past while paying homage to the craftsmanship and wisdom of our forebears.

This preservation of cultural heritage can help foster a sense of continuity and identity within communities, strengthening their ties to local history.

Considerations

Traditional construction techniques offer environmental and cultural advantages but come with challenges. They demand skilled labour, potentially increasing time, and cost. Finding artisans skilled in these methods can be difficult, slowing construction. Traditional materials may have lower structural strength and insulation, impacting energy efficiency. Reliance on local materials may not be feasible in resource-scarce areas. Rainwater and greywater systems reduce water consumption, but effectiveness varies with local factors.

Despite these considerations, the overall advantages of using traditional techniques for building sustainable green homes remain compelling. They promote the use of natural materials, reduce carbon footprints, foster a connection with cultural heritage, and prioritise long-lasting quality and authenticity. By carefully addressing their challenges and limitations, we can harness the best of both traditional and modern approaches to create homes that are not only environmentally friendly but also practical for modern living.

Conclusion

Building a sustainable green home using traditional techniques is not about rejecting progress but rather embracing the best of both worlds. We can combine the wisdom of the past with modern innovations, such as energy-efficient appliances and renewable energy sources like solar panels, to create homes that are both environmentally friendly and equipped for modern living. At a time when climate change and environmental degradation are pressing concerns, it's essential to explore all avenues for sustainable living.

Overall, traditional construction techniques offer valuable lessons in resourcefulness, craftsmanship, and ecological mindfulness. By rediscovering and adapting these methods, we can build green homes that not only reduce our environmental footprint but also provide lasting comfort, durability, and a link to our architectural heritage. It's time to look to the past so that we can build a greener future.

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There is a call to revisit the past to inform ecological futures.

Co-creation and participatory design are seen as strategies to generate new knowledge in architecture.

Projects already demonstrate urban quality improvements affecting both individual communities and broader cities.