Constructing new buildings with retrieved surplus materials is a practical and inspiring book about recycling superfluous stuff in architecture.

This book is a highly illustrated “map,” using photos, infographics and statistics, showing designers how they can successfully navigate the emerging field of resource management and the circular economy. Using the Brighton Waste House Project as a basis for this, the book will look at key moments and landmark decisions made during its design and construction, as well as the people and projects from around the world that inspired them.

A valuable source of information, insight, and fresh ideas about a crucial aspect of the growing sustainable design movement Mounting resource shortages worldwide coupled with skyrocketing extraction costs for new materials have made the prospect of materials reuse and recycling an issue of paramount importance. A fundamental goal of the sustainable design movement is to derive utmost use from construction materials and components, including energy, water, materials, building components, whole structures, and even entire infrastructures. Written by an expert with many years of experience in both industry and academe, this book explores a wide range of sustainable design strategies which designers around the globe are using to create efficient and aesthetically pleasing buildings from waste streams and discarded items. Emphasizing performance issues, design considerations and process constraints, it describes numerous fully realized projects, and explores theoretical applications still on the drawing board. There is a growing awareness worldwide of the need for cyclical systems of materials reuse. Pioneering efforts at “closed-loop” design date as far back as 1960s, but only recently have architects and designers begun to focus on the opportunities which discarded materials can provide for creating high performance structures. A source of insight and fresh ideas for architects, engineers, and designers, Resource Salvation: Reviews the theory and practice of building material and waste reuse and describes best practices in that area worldwide Describes projects that use closed-loop thinking to influence and inspire the design of components, interiors, whole buildings, or urban landscapes Illustrates how using discarded materials and focusing on closed loops can lead to new concepts in architecture, building science, and urban design Demonstrates how designers have developed aesthetically compelling solutions to the demands of rigorous performance standards Resource Salvation is a source of information and inspiration for architects, civil engineers, green building professionals, building materials suppliers, landscape designers, urban designers, and government policymakers. It is certain to become required reading in university courses in sustainable architecture, as well as materials engineering and environmental engineering curricula with a sustainable design component.

This richly illustrated book presents the exhibits and curatorial visions of the 2015 Shenzhen Biennale of Architecture and Urbanism (UABB), organized around the theme, Re-Living the City. It highlights the contributions of dozens of international architects, designers and artists, and offers 12 probing, original essays. The projects and essays of UABB 2015, Re-Living the City, criticize the status quo of architecture and urbanism, but they also resist the false dream of designing a perfect city from scratch. Instead, they portray the city as the incremental product of its inhabitants and designers, who provisionally make and remake its fabric through various means at their disposal. Urbanization in the world’s fastest growing regions today has a dual character: officially-sanctioned, large-scale development shadowed by unregulated or ‘informal’ spaces built by disenfranchised migrants. UABB 2015 operates between these poles, seeking alternative paradigms to generate a more sustain- able, equitable, and imaginative urbanity.The principal exhibitions of UABB 2015 include: (1) ‘Radical Urbanism’, curated by Alfredo Brillembourg and Hubert Klumpner (Urban-Think Tank), based on the proposition that the city today is more radical than the architects and planners operating within it; (2) ‘Collage City 3D’, curated by Aaron Betsky, in which artists and architects are asked to create adjacent three-dimensional installations to explore the idea of habitable collage as a mode of urban design; and (3) ‘PRD 2.0’, curated by Doreen Heng Liu, focusing on the need for a more balanced approach to urbanism and architecture in the Pearl River Delta region in southeast China. Liu also offers an account of the renovation of the Shenzhen exhibition venue, the former Dacheng Flour Factory complex. In addition, the book presents the ‘Social City’ online platform and exhibition curated by Renny Ramakers, the ‘Maker Maker’ showcase of contemporary craft, and a series of national, regional, and thematic pavilions. Curatorial essays are complemented by guest essays from international critics, researchers, and practitioners.

In a time of climate crisis and housing shortages, a bold, visionary call to replace current wasteful construction practices with an architecture of reuse As climate change has escalated into a crisis, the reuse of existing structures is the only way to even begin to preserve our wood, sand, silicon, and iron, let alone stop belching carbon monoxide into the air. Our housing crisis means that we need usable buildings now more than ever, but architect and critic Aaron Betsky shows that new construction—often seeking to maximize profits rather than resources, often soulless in its feel—is not the answer. Whenever possible, it is better to repair, recycle, renovate, and reuse—not only from an environmental perspective, but culturally and artistically as well. Architectural reuse is as old as civilization itself. In the streets of Europe, you can find fragments from the Roman Empire. More recently, marginalized communities from New York to Detroit—queer people looking for places to gather or cruise, punks looking to make loud music, artists and displaced people looking for space to work and live—have taken over industrial spaces created then abandoned by capitalism, forging a unique style in the process. Their methods—from urban mining to dumpster diving—now inform architects transforming old structures today. Betsky shows us contemporary imaginative reuse throughout the world: the Mexican housing authority transforming concrete slums into well-serviced apartments; the MassMOCA museum, built out of old textile mills; the squatted city of Christiana in Copenhagen, fashioned from an old army base; Project Heidelberg in Detroit. All point towards a new circular economy of reuse, built from the ashes of the capitalist economy of consumption.

Architecture is defined by its materials and surfaces. Not infrequently, it is their look and feel that determine whether a project succeeds or fails. For this reason, it is crucially important that planners choose the right materials and use them correctly, a task that is especially challenging today, when they are confronted with an almost dizzying variety of design possibilities and almost unlimited industrial production techniques. In Detail: Materials for Interiors provides detailed and specific information on the use of appropriate materials in interior design. The book leads off with an overview of the range of available products for interior design, including large-format photographs of each material and interiors that use them. This is followed by detailed discussions of relevant aspects and production methods of the individual material groups, including selected examples. The processing of the materials is illustrated by production photographs from the construction site and numerous detail drawings. In the accompanying texts, expert planners who specialize in the various materials share their practical knowledge of how to use them. The technical articles and example projects focus on the surface of the material and how it is produced or comes to be and contain corresponding decision support for planners. Additional technical information on the materials used and a list of manufacturer and vendor addresses round out the volume. Werkstoffe und Oberflächen prägen die Architektur. Nicht selten entscheiden deren Optik und Haptik über Erfolg oder Misserfolg eines Projektes. Umso mehr stellt die richtige Auswahl und Verwendung von Materialien für den Planer eine besondere Herausforderung dar, der heutzutage – besonders im Innenausbau – einer nahezu unübersichtlichen Vielfalt an Gestaltungsmöglichkeiten und nahezu uneingeschränkten industriellen Fertigungstechniken gegenübersteht. „Im Detail: Material im Innenraum" liefert gezielte und detaillierte Informationen zum Einsatz geeigneter Materialien im Innenausbau. Den Auftakt des Buches bildet ein Überblick über die Produktpalette beim Innenausbau mit einem großformatigen Fotos des jeweiligen Materials und eines damit ausgestatteten Innenraums. Planungsrelevante Aspekte und Fertigungsmethoden der einzelnen Materialgruppen werden dann anhand ausgewählter Beispiele detailliert erläutert. Die Verarbeitung der Werkstoffe wird durch Fertigungsfotos von der Baustelle und mit zahlreichen Detailzeichnungen veranschaulicht. Die Begleittexte vermitteln das Praxiswissen von den jeweiligen Fachplanern zum Einsatz der Werkstoffe. Der Schwerpunkt der Fachartikel und der Projektbeispiele liegt dabei auf der Materialoberfläche, deren Entstehungs- bzw. Herstellungsprozess und birgt entsprechende Entscheidungshilfen für die Planung. Zusätzliche technische Infos zu den verwendeten Materialien sowie Hersteller/Bezugsadressen runden das Buch ab.

Climax Change! represents the much-needed overview of how climate change and the current environmental emergency will affect the practice of architecture, both in terms of its design philosophy and rising opportunities to innovate and radically transform the current tenet of architecture’s aesthetic, ethical and professional drives. Climax Change! offers an overview of how the current environmental emergency will impact the practice of architecture. At a crossroads in which the construction sector and built environment produce nearly 40% of greenhouse gases accountable for global warming, architects are just starting to acknowledge their complicity in an impending disaster. In need of a paradigm shift similar to that of the Modern Movement, architecture desperately requires clear guidelines and targets so as to operate its inevitable transformation towards an ecologically-friendly design logic. From historical analyses of ecocide or the environmental avant-gardes, to topics such as decarbonization, degrowth, the Great Transition and the aspirations of Green New Deals, this book features ten essays around today's climate change debates, bringing them home to architectural thinking.

Design Like You Give a Damn [2] is the indispensable handbook for anyone committed to building a more sustainable future. Following the success of their first book, Architecture for Humanity brings readers the next edition, with more than 100 projects from around the world. Packed with practical and ingenious design solutions, this book addresses the need for basic shelter, housing, education, health care, clean water, and renewable energy. One-on-one interviews and provocative case studies demonstrate how innovative design is reimagining community and uplifting lives. From building-material innovations such as smog-eating concrete to innovative public policy that is repainting Brazil’s urban slums, Design Like You Give a Damn [2] serves as a how-to guide for anyone seeking to build change from the ground up. Praise for Design Like You Give a Damn [2]: !--StartFragment-- “The resourcefulness of the projects in the book is inspiring, its information practical (see Stohr’s chapter on financing sustainable community development) and its numerous factoids sobering.” —TMagazine.blogs.NYTimes.com

Responding to increasing levels of planetary pollution, waste generation, carbon dioxide emission and environmental collapse, Ecologies of Inception re-thinks potentiality—an object’s ability to change—in architecture and design. The book problematizes the still-prevailing modern paradigm of design practice: the technical tabula rasa, a tendency to begin from scratch and use raw, amorphous, and obedient materials that can be easily and effectively manipulated, facilitating a seamless and faithful embodiment of intentions. Instead, the philosophy of design developed in the text prompts—through a variety of case studies, thinkers, and disciplines—a collective reconsideration of value, dissociating it from the projects and signatures of any one author or generation. Whereas the merits of up-cycling and circular design are canonically defined vis-à-vis status-quo economic and socio-cultural orthodoxies, this project unpacks the theoretical assumptions that underpin these practices, showing that they perpetuate the same biases and exclusions that generate waste in the first place. As an alternative, the book introduces a nodal and exaptive paradigm for design: a conceptual and methodological toolset for engaging the durational and anthropocenic materiality of the third millennium, and for radically prioritizing practices of maintenance, reuse, care, and co-option. This approach, which is inspired by (and builds upon) evolutionary biology, technological disobedience, queer use, adaptive reuse, experimental preservation, and improvisational practices such as collage, adhocism, bricolage, and kit-bashing, refuses to reduce pre-existing material substrates to abstract lists of properties or featureless lumps, encountering them on their own terms—as situated individuals and co-authors. Ecologies of Inception will appeal to undergraduate and postgraduate students, educators, and professional architects and designers interested in sustainable design and seeking to develop conceptual and design tools commensurate with the magnitude and urgency of the climate emergency.