NEW AESTHETICS
AIT
October 2024
pages 146 – 149
New aesthetics in architecture
The European Union is rumoured to have many a problem: how crooked can a banana be, for example? The rumour about this regulation persists, although it has long been disproved. Regulations are viewed critically per se and with every new regulation there is the hope that it can somehow be circumvented. But what do the political framework conditions have to do with the day-to-day work of a planning office? Aesthetic qualities are not determined by the EU. Or do they?
Let’s take a look at the recent past. On 11 December 2019, the EU Commission launched a revolution in Brussels: the European Green Deal. Its aim is nothing less than a new growth strategy to make Europe the first climate-neutral continent by 2050. The construction industry has a key role to play here due to its high CO2 emissions. Decoupling growth from resource utilisation is essential for our industry. The use, processing and utilisation of raw materials have a direct impact on economic, ecological and social aspects. New developments and business ideas show that economic success can be coupled with ecological demands – by conserving resources and utilising them efficiently without harming natural landscapes, biodiversity or people.
In order to enable the necessary transformation processes towards a climate-neutral and circular economy, sustainable investments of at least €1 trillion will be mobilised over ten years. The EU taxonomy came into force in order to define which economic activities are considered sustainable and how. As a regulation, it is crucial for the financial and capital markets in particular in order to specifically promote investments or reject loans or demand higher interest rates. Investors and developers are very interested in ensuring that their projects are classified as sustainable and financed on favourable terms. This regulation therefore has a direct impact on the work of planning offices, as they must provide evidence of taxonomy-compliant planning. In bureaucratic terms, the assessment criteria for construction and real estate are listed under point 7 in Annex 1 of Regulation (EU) 2020/852. Some of the criteria influence the planning process in that, in addition to energy, water and resource utilisation, the circular economy and soil sealing also play important roles. In order to take these aspects into account and influence them positively, life cycle analyses must be carried out that include both construction and operation as well as the residual value of the property, i.e. the raw materials used including the stored grey energy, at the end of its use phase.
What does this have to do with aesthetics?
If we understand aesthetics in architecture as the interplay of visual, sensory and contextual factors that together determine the emotional and intellectual experience of a building, then it characterises subjective and cultural, but also universal principles of harmony and proportion. Then aesthetics is more than just beauty. It characterises and inspires each individual and creates a sensual experience, both unconsciously and consciously.
However, architecture is also the sum of building products conceived and developed by the industry. The demands on function and aesthetics are high: materials must not change, age, show signs of wear, smell or be dirt-repellent, fire-resistant, etc. We allow wood to pre-grey so that we don’t experience any surprises. For example, we allow wood to pre-grey so that we don’t experience any surprises, as we would have to leave natural greying to the wind and weather without any control. We err on the safe side with wood prints, which then look aged or freshly cut, depending on taste. Although the design ‘quasi from the catalogue’ is practically comprehensible and calculable, it can also be tiring, as it denies the user sensory experiences. The effects on the environment and people caused by the necessary supply chains are ignored. Interior design is rarely durable, but always material-intensive. The aesthetic perception of recent decades has been characterised by the thoughtless consumption of resources, energy and land. This still characterises our visual habits today.
The choice of material not only influences the look, feel and function, but also determines the type of use and possible processing. Consideration of the entire life cycle reveals the influence on the origin and type of production, the associated use of raw materials and chemicals, transport routes, energy and water consumption as well as deconstruction potential.
Architecture and its environmental impact cannot be assessed without considering the entire life cycle: CO2 is the new currency. Accepting this is the basis for a new understanding within the process from immaterial design to material realisation. New possibilities and new ways of thinking arise: How can CO2 that has already been stored be utilised? With well thought-out planning, it can be demonstrated how much CO2 is already stored in the design. This can be done by reusing building materials that have already been used or by using renewable raw materials that already store CO2 through their natural growth. Sustainable developments are currently taking place in precisely these two areas.
Understanding natural phenomena – transferring them to innovative technologies
Research offers sufficient solutions between mechanisation and vernacular approaches. Biointelligent materials, which grow quickly without any fertilisers or pesticides, store a lot of CO2. In addition, they are resistant to mould, pests and fire without chemical additives. Open to diffusion, they regulate humidity and ensure a pleasant indoor climate. Locally available and biodegradable, they produce surprising results thanks to state-of-the-art production methods. Innovative manufacturing techniques allow separable constructions so that the monomaterials can be returned to the cycle at any time. For existing and installed building products and materials, the solution approaches are somewhere between technology and logistics, as they have to be dismantled, sorted and reworked depending on their use. This approach requires a sophisticated logistical service: Where are the materials stored temporarily? How can supply and demand be brought together? Is there a material passport so that the manufacturer can be identified and the materials can be returned and reworked? Legal solutions to warranty issues are now also available. Up to now, planners have had to agree the remuneration for additional services individually. However, it should only be a matter of time before this point is also clarified. The flaw in the system to date is that new materials are usually cheaper than used ones – not to mention the unfamiliar expense that this new approach entails. This is also due to the fact that too little value is placed on the stored grey energy of used materials. The fixed CO2 price does not currently reflect this, but will gradually increase. Integrating these approaches into qualitative design can accelerate this process. Both developments have an influence on the planning process and the aesthetics of the design. The sensory experience is enriched by the expanded possibilities. This applies to the deliberate use of quotations through the reintroduction of existing building components as well as the use of natural building materials that surprise through new processing techniques. Reversible constructions play a decisive role in all variants. Thanks to innovative technology, some building materials that were firmly bonded together in the past can now be separated. For example, old flooring can be separated into its individual components and reused in the same quality. Knowledge about these rapid developments must be constantly communicated. On the one hand, universities need to expand their teaching content and, on the other, offices need to boldly utilise and try out new design options during ongoing operations. This makes it clear that the task of planners is to translate the political framework conditions into good design. In future, the quality of design can also be measured by the EU taxonomy. And our viewing habits? They will adapt.
Sustainable Architecture & Design 2023/2024
It was against this background that the idea of publishing a yearbook on sustainable architecture and design was born. It is based on the deep conviction that our future can be shaped positively and that this creative act can be developed together with all stakeholders. At its best, the yearbook can accompany this process.
It presents relevant topics of transformation development such as sufficiency endeavours, the best possible use of resources and circular processes, as well as socio-cultural aspects and biodiversity.
LOT 8, Atelier LUMA / Arles, France
Circular Design Lab with experimental biomaterials made from local raw materials
The LOT 8 project was based on the results of years of research into global economic, environmental and human challenges, which are reflected in almost 20 building applications: from door handles made from salt crystal and demolition waste in rammed earth to acoustic and wall panelling made from agricultural waste. Sunflower fibres, rice straw and mineral resources, clay waste, earth, stone waste and dust have been converted into building materials.
The bioregional approach means transforming unused local resources into unusual products. Most of the raw materials come from within a radius of 70 kilometres. In an interdisciplinary exchange, the expertise of local players is combined with various specialist areas to create solutions in the construction sector.
Gravel from bricks, stones and ceramics from demolished buildings in Nîmes appear in adobe walls rammed on site. White stone dust from waste from the Sarragan quarry in Baux-de-Provence lends them an almost lightness. The striped terrazzo was created by carefully cutting and laying broken clay tiles from the roof renovation. The stone façade was redesigned using lime plaster and broken roof tiles as aggregate.The three main rooms are defined by the thick stone walls of the building and differ both in terms of their materiality and their use: work area, workshops and public area for exhibitions or events.
Kornversuchsspeicher / Hamburg, Germany
Refurbishment of a listed building to create office space and public areas
Decades of vacancy necessitated extensive refurbishment of the listed granary. The striking clinker brick façade was largely preserved – refurbished and supplemented with existing substance. During the extensive restoration of the concrete supporting structure inside, historical supports were retained as far as possible. Exposed ceiling shafts achieve the necessary fire protection by means of metal mats and shotcrete. Their cloudy, rough surfaces make a positive contribution to the acoustics.
From the outset, the entire planning followed a deliberately minimalist approach: no suspended ceilings, no plaster installations, robust and refurbishable floors. By dispensing with plaster, colours and finishes, authentic surfaces are created that take on a patina. Historic concrete elements and exposed brickwork appear untreated with traces of time. The restrained use of mono-materials considers the entire life cycle of the components and enables residue-free dismantling.
Gewerbehof Flei75 / Lübeck, Germany
Renovation of historic building ensemble with deliberate contrasts
Since the 19th century, the historic building structure has been characterised by a street-side apartment building and the workshop behind it, as well as the studio building. The aim of the necessary, thorough refurbishment was to preserve the legibility of the history. In order to protect individual components such as old staircases and special wall sections, intensive coordination with and a sensitive approach by craftsmen with experience of listed buildings was necessary.
By reusing the buildings, grey energy that was used long ago for the production of raw materials and construction was preserved. The green roof and façade greening ensure a maximum gain in CO2-binding plants. Irrigation is ensured by a rainwater basin that is fed by the surrounding roofs.
