The city, reimagined: design for a sustainable future

The city, reimagined: design for a sustainable future

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The city, reimagined: design for a sustainable future that in the hope of one responsible official will demonstrate to the world how true sustainable living can be achieved . . .

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The above image is for illustration – credit LinkedIn

 

The city, reimagined: design for a sustainable future

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THE LINE is being designed to address many problems cities face, from congestion to circular use of resources.Credit: NEOM

NEOM, an extensive development project underway in Saudi Arabia’s Tabuk province, aims to build a fully sustainable society.

“We hope to demonstrate to the world how true sustainable living can be achieved,” says Richard Bush, NEOM’s chief environmental officer.

The region will be powered by 100% renewable energy, eschewing private cars in favour of a shared transport network. Its development will take up only 5% of the region’s land, preserving the remaining 95% as biodiverse ecosystems.

There are plans to sensitively regreen the desert, bringing back indigenous plants and wildlife that once flourished in the Kingdom.

“Our environmental scientists recently found the Sinai primrose (Primula boveana) growing in Trojena; it was thought to be functionally extinct in the wild,” says Bush. “We have strict regulations for all our developments to offset changes from construction and produce positive biodiversity gains for the region.”

Forging a circular economy

Waste systems at NEOM will be circular, designed to function without impact on the environment. Waste water will be treated and reused. NEOM’s scientists are also working with technology providers to explore the extraction of valuable products such as salts, minerals and metals from brine.

Following Saudi Arabia’s G20 presidency in 2020, the nation committed to developing a circular carbon economy based on the ‘four Rs’ of carbon management—reduce, remove, recycle and reuse. NEOM’s goals are aligned to this national programme.

“We’re seeking to combine the best options available now rather than waiting for perfect solutions,” says Donal Bradley, executive director of NEOM’s Education, Research and Innovation Foundation.

Scientists working with the foundation’s flagship Applied Research Institutes will investigate many aspects of sustainable living and the circular economy, including the use of captured CO2 to synthesize sustainable fuels, reducing the energy demand for displays, lighting and consumer electronics, and harnessing natural solutions for storing CO2 , such as mangroves and sea grass meadows. Microalgae will be grown at scale for numerous applications, including biofuels and biotechnology.

“Plastics are another challenge,” says Bradley. “These materials contributed positively to global development for many decades, but the throw-away culture that built up around them is highly problematic. They are a potentially useful carbon source for the future, but we need to become better equipped to recycle them.”

Lining up a new way to live

THE LINE is NEOM’s pioneering cognitive city, which will be 200 metres wide, 500 metres above sea level and — eventually — 170 kilometres long. The goal is to avoid significant problems that cities face: sprawl, congestion and increasingly disconnected communities.

“We’re reimagining every feature of how a city is managed,” says Bush. “We’re working closely with supply chains to transform how goods are used and transported. These insights will have applications far beyond NEOM.”

Residents of THE LINE will be pioneers, exploring a new mode of urban living. “It’s vital to go beyond technology and understand the sociological and psychological aspects of what constitutes a liveable space, so that people enjoy living there,” says Bradley. NEOM’s researchers will also focus on human health and well-being to reduce demand on health-care services, reflecting the project’s goal to build circular sustainability into every layer of daily life.

“Our purpose”, says Bush, “is to inspire change across all aspects of society.”

To learn more about the research underway at NEOM, or to find opportunities to collaborate, visit us here.

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Empowering Decision-Making with BIM in Construction

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Building Information Modelling (BIM) is these days emerging as a game-changer; redefining how projects are planned, executed, and managed. It is notably Empowering Decision-Making with BIM in Construction .

 

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The above image is for illustration and is credit to Linkedin.


 

Empowering Decision-Making with BIM in Construction

The construction industry is undergoing significant change, most certainly driven by the influx of new technologies and methodologies. Among these, Building Information Modelling (BIM) has emerged as a game-changer; redefining how projects are planned, executed, and managed.

BIM workflows are reshaping the industry, offering enhanced precision and control that were previously unattainable. In the Europe, Middle East and Africa (EMEA) region, where diversity in construction practices and regulatory standards is prominent, adopting BIM has become a critical factor in achieving project success and staying ahead in a competitive landscape.

BIM’s influence in the construction industry extends far beyond traditional design and drafting. It represents a holistic approach to construction project management, integrating various aspects of the construction process into a cohesive, data-driven framework. This methodology enables a level of collaboration and efficiency that aligns with the evolving demands of the industry, especially in regions as diverse and dynamic as EMEA.

Traditionally, construction project management has struggled with challenges such as fragmented data, disjointed workflows, and communication barriers. These challenges often lead to inefficiencies, miscommunication, and escalated costs, hindering project success. However, the integration of BIM workflows has started to address these issues, paving the way for more streamlined and effective project management.

Introducing Autodesk Construction Cloud: A Strategic Solution

In response to these industry trends and challenges, Autodesk Construction Cloud offers a comprehensive and robust solution that harnesses the power of BIM workflows. This platform stands out in the realm of construction technology, especially in the EMEA region, where it caters to the diverse needs and standards of the construction industry.

Seamless Project Management

Autodesk Construction Cloud goes beyond traditional BIM applications by offering a connected ecosystem that centralises data, streamlines collaboration, and empowers stakeholders. It integrates critical aspects of time, scope, and budget into a unified platform, revolutionising project management in the construction industry.

Enhancing Design and Preconstruction Phases

In the design and preconstruction phase, Autodesk Construction Cloud facilitates a collaborative environment, allowing architects, engineers, and contractors to work together seamlessly. This results in projects that start on a solid foundation with real-time access to design updates and documentation.

Optimising Construction Phase with Predictive Analytics

As projects transition into the construction phase, Autodesk Construction Cloud’s predictive insights and AI capabilities become instrumental. These features help enable[MM5]  teams to anticipate and address potential issues proactively, adhering to defined timelines and budget constraints.

Operation and Maintenance: Sustaining the Momentum

The conclusion of construction does not signify the end of a project’s lifecycle. Autodesk Construction Cloud extends its utility into operation and maintenance, offering a repository of data that aids in the efficient management of the built environment. The asset-centric approach centralises documentation and connects it with operational workflows, help establishing a foundation for sustained success.

Autodesk Construction Cloud has helped streamline construction processes and deliver high-quality projects with precision. Some successful examples of this are SBE’s employee-focused digital transformation journey in Belgium and CPAC Modular’s digital Common Data Environment to facilitate streamlined collaboration in Ireland. These stories demonstrate how Autodesk Construction Cloud has helped construction projects run more smoothly.

Photo credit: SBE’s award-winning Royers Lock project in Belgium

Autodesk Construction Cloud is more than a platform; it is a catalyst for innovation and excellence in the construction industry. By aligning with industry trends and leveraging the capabilities of BIM, it offers a unique solution that meets the evolving needs of the construction market across EMEA. As the industry continues to evolve, Autodesk Construction Cloud stands as a testament to what’s possible in the realm of modern construction management.

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Kristina Poluyanova

As a Senior Product Marketing Manager for EMEA, Kristina brings a rich blend of experiences and insight to Autodesk. With six years deeply immersed in the construction industry across Europe and the Middle East, and a decade navigating the dynamic SaaS landscape, she has a robust understanding of the industry. With a diverse background spans across customer success, product marketing, sales, and strategy, Kristina excels at understanding your challenges, conveying them back to Autodesk, and transforming them into tailored messages that resonate with specific markets. Her global perspective is broadened by residing in three different countries, where she now calls London, UK, her home. Always open to forging new connections, Kristina welcomes networking opportunities. So, if you’re in town, don’t hesitate to reach out!”
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Siham Laadjal, an Algerian architect who shines in Paris

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Siham Laadjal is an Algerian architect who shines in Paris. Not without continuous efforts and daily sacrifices. Let us see how she made it.

Siham Laadjal, an Algerian architect who shines in Paris

 

Paris is an ideal destination for those who want to learn the profession of architecture. However, it is more difficult than elsewhere to shine in this “large open-air architectural museum”, especially for an Algerian architect.

Siham Laadjal, a young Algerian architect who graduated from the Algiers School of Architecture (EPAU), did it. She was able to find a place in the very selective world of Parisian architecture. Not without continuous efforts and daily sacrifices.

 

At 45, she is the head of her Parisian firm, which she co-founded in 2020 with a French colleague and friend. “ It’s a project that concretizes our Franco-Algerian friendship,” she said.

The two women embarked on the adventure with “ a lump in their stomachs ”, their “meagre unemployment benefits ” and their solid experience. After some initial difficulties, Koko Architecture is today a company that is doing quite well, says its co-founder.

“ Very quickly we reap the fruits of our perseverance at work and our shared values,” she told TSA.

First, it was their former colleagues who offered them subcontracting contracts on collective or individual housing projects in France.

Then little by little, the activity diversified: design of lots of individual houses, collective housing buildings, a workers’ residence, a nursery, renovation of apartments, extension of houses, private mansions, interior architecture, design …

Before getting there, Siham Laadjal had a very long journey behind her that began in Biskra, at the gates of the Algerian Sahara. A bachelor at just 16 years old, she joined Epau, the prestigious architecture school in Algiers, where she graduated with an architect’s diploma at the age of 21.

It was in 1999. Behind all this, a father, “ a great Algerian man ” who transmitted to him, at a very young age, all the values ​​that guarantee success. Siham Laadjal pays him a vibrant tribute: “ He taught me the values ​​of work and success in society, I was very influenced by his rigor, his perseverance and his success in Algeria .”

Although she graduated with flying colors, the young woman considered that it was still too early to claim to have mastered the profession. “ I still felt the need to learn to better master this discipline,” she admits.

Present at the launch of the World Council of the Algerian Diaspora on Friday, 8 March in Paris, Siham Laadjal wants, like many Algerians abroad, to provide her help and her know-how for the development of Algeria.

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Tropical Modernism: Architecture and Independence

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Tropical Modernism: Architecture and Independence at V&A reintroduces Indian and Ghanaian pioneers of the style

The above-featured image is for illustration and is credit to V&A

The Legislative Assembly/Chandigarh-Duncid and Independence Square in Ghana.
Wikimedia Commons , CC BY

Adefolatomiwa Toye, University of Liverpool

The Tropical Modernism: Architecture and Independence exhibition at London’s Victoria and Albert Museum showcases the legacy of tropical modernism in Ghana and India.

The architectural style was developed specifically for tropical climates, so its key design consideration was optimal ventilation and minimal solar heat gain. Elaborate building forms and abstract ornamentation later became characteristic of the style.

Although the movement began with colonial architects after the second world war, it was redefined by newly independent nations of the 20th century, who wanted to create an identity detached from their colonial past. The V&A exhibition spotlights India and Ghana’s nation-building projects following their independence from Britain in 1947 and 1957 respectively.

It begins with the early work of British architects Maxwell Fry and Jane Drew in Ghana. Until a few decades ago, European and colonial architects’ designs dominated the historical narrative of tropical modernism. This narrow viewpoint is currently contested and extensive research on post-independence architecture and non-European architects is being conducted.

The V&A exhibition attempts to redress this Euro-centric story. It centres around the lesser known architects whose input has been historically overlooked or erased. It celebrates their contributions to tropical modernism and the impact of independence projects on local architectural education.

The architecture of a new nation

Chandigarh, a planning project for Punjab’s new capital after India’s partition, is one of the architectural works featured in the exhibition. The city is a famous example of 20th-century modern architecture and urban planning. It was led by European architects Le Corbusier, Pierre Jeanneret, Maxwell Fry and Jane Drew.

While the story of Chandigarh tends to be dominated by these architects (especially Le Corbusier) its creation included a budding team of Indian architects and artists, many of whom returned to India from overseas.

Works by these Indian architects are on display in the V&A show. There’s Eulie Chowdhury’s Chandigarh chair which was co-designed with Pierre Jenneret, Jeet Malhotra’s photographs of the city under construction and Giani Rattan Singh’s wooden model of the Legislative Assembly.

These architects were on the design team for the Capitol Complex, which comprised grand administrative buildings and monuments. The buildings were exposed concrete structures with sculpture-like forms and deep concrete louvres (slats that control sunlight entering a building).

Once dominated by British colonial architects, Ghana’s building industry expanded post-independence to include architects from Africa, the African diaspora, and Eastern Europe. Victor Adegbite, a Ghanaian architect, oversaw several public works as head of the country’s housing and construction corporations. He led the team for the building, popularly called Job 600, which was constructed to host the Organisation of African Unity Conference in 1965.

Nation-building programmes also acknowledged the importance of local expertise. This subsequently aided the development of local architectural practice and education. The Chandigarh College of Architecture opened in 1961 and more followed suit.

Ghana’s Africanisation policies (intended to increase the population of Africans in corporate and government positions) influenced the founding of the architecture department at Kwame Nkrumah University of Science and Technology (KNUST).

The department began by recruiting educators from Britain and around the world. On display is a student-made geodesic dome (lightweight shell structure with load-bearing properties), which was constructed during a teaching programme with American designer Buckminster Fuller.

Among the staff were Ghanaian architects like John Owusu Addo – the first African head of department. He designed new buildings for the university most notably the Senior Staff Club and Unity student hall included in the exhibition. The hall’s nine-storey blocks combine exterior and interior corridors to improve indoor ventilation.

The many dimensions of tropical modernism

Exhibitions like this are important because they educate the public on the strides made by academic institutions and cultural organisations in rewriting the history of tropical modernism.

V&A’s collaboration with the Kwame Nkrumah University of Science and Technology and Chandigarh College of Architecture was integral to the exhibition. However, the show only briefly addresses the contemporary issues of conservation, sustainability and the alternative histories of the style.

Institutions and organisations are now pushing for the conservation of tropical modernism in Asia and Africa. Although monuments like Chandigarh Capitol Complex, have attained heritage status, many are in decline, repurposed or at risk of demolition.

In India for example, the Hall of Nations, a group of pyramidal exhibition halls, was demolished in 2017. Social media platforms like Postbox Ghana and international collaborations like Docomomo International and Shared Heritage Africa project centre the African experience in documenting and reviving public interest in tropical modernism.

Unlike the architects and the experts celebrated in this exhibition, construction labourers are not as visible in historical sources because they were often unrecorded. Oral history’s ability to fill this gap diminishes with time, but we have a duty to avoid repeating the same erasure and omissions of the past. The legacy of tropical modernism is incomplete without addressing the contributions made by both professionals and labourers alike.


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Adefolatomiwa Toye, PhD Candidate, School of Architecture, University of Liverpool

This article is republished from The Conversation under a Creative Commons license. Read the original article.

 

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Architects part of historic “social cleansing” of cities

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Architects part of historic “social cleansing” of cities, says architect David Chipperfield has delivered a critique of his profession as part of a panel discussion at the Design Doha Forum that is now available to stream on Dezeen..
The featured image above is on The Grand-Egyptian-Museum-Heneghan-Peng-architects-architecture-Egypt-Giza-cultural_Dezeen

 


Architects part of historic “social cleansing” of cities, says David Chipperfield at Design Doha 

Chipperfield spoke alongside Design Museum London director Tim Marlow and Qatari architect Ibrahim Jaidah on a Design Doha Forum (DDF) panel titled “Agent of change: how design shapes society and culture”.

Moderated by DDF editorial director Jelena Trkulja, the panel looked at ways that design and architecture were having both a positive and negative impact on lifestyles, culture and the environment.

David Chipperfield, Tim Marlow and Ibrahim Jaidah spoke at a panel at the Design Doha Forum

Chipperfield expressed a sense of anxiety about the idea of technical progress and its consequences today, especially in regards to social changes and the environmental crisis.

“I think we’ve changed our idea of what progress is itself. For the first time in my life, I would say there’s a certain loss of confidence in the absolute notion of progress,” he said.

He added that cultural heritage, identity and the problems of globalism were all “expressions of anxiety”, which could be traced back to consumerism and its effects on resources and the climate.

Chipperfield said that although the most critical decisions about the built environment were made further up the “food chain”, before the involvement of architects, they nevertheless had been part of a process that has changed cities for the worse.

“I would say as architects, we have been part of, in the last 30 or 40 years, a process which has not necessarily improved our cities, has made our cities more expensive to the point at which most people can no longer afford to live in them,” he said.

“We’ve done a sort of social cleansing on cities like London, Paris, Zurich. Everybody has to live on the outside. We’ve been part of that.”

Chipperfield made the argument that recent decades in architecture had changed cities for the worse

The British architect also critiqued the involvement of his profession in globalisation, saying it had made all cities look the same and resulted in “the moving of materials from one side of the planet to the other for no real reason”.

But he said that like many contemporary architects and designers, he had now reorientated his practice to try to fix some of these mistakes.

The architect spoke of a project he had completed through his research agency Fundación RIA where, after five years of community consultation, they had built a new public seating area on a former car park on the waterfront of Spanish town Portos de Galicia.

“In the maturing years of my professional career, I get enormous satisfaction of having a village as my client, a community as my client, and trying to find physical resolution and capturing common concerns and concerns that might improve quality of life,” Chipperfield said.

Chipperfield shared an image of his work at Portos de Galicia

Marlow agreed with Chipperfield, adding that educating the public and trying to shift taste was critical in enabling these kinds of projects and that the same was true for industrial design.

“If we want to find ways of reusing plastic, we have to move away from the obsession with perfect monochrome material and actually have something that looks like the Play-Doh that we all had as children, when it all got amalgamated in the same box,” he said.

Jaidah, whose past work includes the Al Thumama Stadium in Doha and some of Qatar’s most iconic buildings, spoke of how he had seen tastes change in Qatar in his own lifetime.

“I have witnessed this in my 30-plus years of career,” he said. “At the beginning, identity was literal: we had to continue doing what we had done. Because our history came to a halt when the oil came, that vernacular disappeared.”

“It didn’t evolve like other nations in the world – you got the Gothic and then you had the Renaissance and then the Bauhaus,” he continued. “No, here a halt came, and then international style came, then all these boxes.”

Jaidah said he had seen a positive change in architecture in Qatar

He said that since 2000, international designers and architects had “helped us redefine what our identity or our culture is” and that adaptive reuse had become more common and considered.

“Your culture is beyond the skin of a building,” said Jaidah. “It’s your environment, it’s your surroundings.”

“I think the younger generations, the next generation, are going to be lucky because they’re going to build on what they have seen. My generation had to start from almost scratch to get reinspired.”

Chipperfield ended with a note that there were lessons to be learned from Qatar’s approach to urban planning, referencing the Msheireb cultural district, the “unique” area around the M7 cultural centre where the event took place.

“We’ve eroded our planning systems,” said Chipperfield. “The government here [in Doha] decided to impose an idea of making a piece of city. In most cities – I mean outside of Switzerland, let’s say – there isn’t a planning authority, because we have bought into the idea of the free market.”

“When you look at the commercial district, it’s a very pure expression of market forces, as is now London,” he continued. “That’s what the market does if you leave it alone, and I think that’s the issue that we have to think about.”

The panel talk took place on 26 February as part of the forum at Design Doha, a biennial event that was held for the first time this year. For more information on the event, visit the Design Doha website.

Partnership content

This article was written by Dezeen for Design Doha as part of a partnership. Find out more about Dezeen partnership content here.