ECOWEEK The Book#2: 15 Paths to Sustainability: from Innovation to Social Design [LR SAMPLE]

EDITORS: Elias Messinas and Despoina Kouinoglou DESIGNER: Artemis Petropoulou, Red-T-Point, Athens, Greece PRODUCTION MANAGER: Elias Messinas LANGUAGE EDITING: Paspartu, Athens, Greece IMAGES: All images copyright of ECOWEEK unless otherwise noted.

ISBN: 978-618-83112-2-0 Copyright: © 2021 ECOWEEK This book is a project by ECOWEEK. All rights reserved. No portion of this book may be reproduced, stored in retrieval system, or transmitted in any form or by any means, mechanically, electronically, by photocopy, recording, or otherwise, without prior written permission.

This book is available on-line and in hard copy. For details visit: https://ecoweek.org

15 Paths to Sustainability:

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IMAGES PREVIOUS PAGE Urban mining in Thessaloniki, Greece in ECOWEEK 2015.

PAGES 2, 3 1. Working with bio-based materials in Tilburg, The Netherlands in ECOWEEK 2017.

2. Workshop hosted at the Jerusalem model hall in Jerusalem, Israel in ECOWEEK 2017.

3. Playing the ‘Jane Jacobs Urban Game’ by Elad Orr in Holon, Israel in ECOWEEK 2018.

4. At the Folklore Museum in Aegina, Greece in ECOWEEK 2021.

5. Urban mining in Tilburg, The Netherlands in ECOWEEK 2017.

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from Innovation to Social Design

ECOWEEK was created with the mission to raise environmental awareness, and is working with passion to change people’s habits (‘habits change climate change’) and to engage the public in promoting the principles of social and environmental sustainability through design. Since 2005, ECOWEEK has developed programs in 17 countries and a network in 56 countries.

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ECOWEEK design workshops have completed interventions and placemaking in more than 30 cities, through more than 200 sustainable design workshops engaging more than 4,500 students and professionals, as well as hundreds of local stakeholders.

ECOWEEK innovates in environmentally and socially-conscious design and action. The ECOWEEK design process is collaborative and participatory.

Design-build and placemaking interventions in public spaces and public institutions take place through processes of public engagement of local stakeholders.

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ECOWEEK design workshops empower students and young professionals to engage in transforming places and making a difference in local communities. We hope that young leaders will bring the necessary paradigm change to address the new challenges posed by the climate crisis.

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15 Paths to Sustainability:

CONTENTS 6

FOREWORD by Arthur Mamou-Mani

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ACKNOWLEDGMENTS

15 INTRODUCTION by Elias Messinas 18 ECOWEEK and the Representation of Paths Towards Sustainability

by Stefanie Leontiadis

A. SUSTAINABLE DESIGN 22 ONE PLANET LIVING Benjamin Gill 28

RE-THINKING HUMAN DESIGN

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HEALING GARDENS

Theodora Kyriafini and Fotini Lymperiadou Radu Negulescu and Ana Muntean

B. CIRCULARITY

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Margarita Kyanidou

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REHABILITATION AND RESTORATION Maria Carmela Frate

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REUSE OF MARINE PLASTICS

UPCYCLING IN DESIGN

Panos Sakkas and Foteini Setaki

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C. PUBLIC PARTICIPATION 62

PUBLIC PARTICIPATION: IN PLANNING AND IN PRACTICE

Elias Messinas

78 DESIGN AND PARTICIPATION Maria Anastasiadou and Ellie Petridi 84

ARHIPERA SUMMER SCHOOLS

Lorin Niculae and Alexandra Purnichescu

90 URBAN DESIGN IN BRAZIL Luis Rossi, Nicolas Le Roux, and Paula Lemos

D. SOCIAL DESIGN 96

SOCIAL DESIGN: THEORY AND PRACTICE

Despoina Kouinoglou

110 EOOS ODM AND ZUV PROJECTS Lena Beigel and Georg Sampl 116

ON THE EDGE

Ulrike Schartner

E. INNOVATION 124

ECOWEEK INNOVATION Kostas Giannakopoulos and Nafsika Mouti

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RECYCLED PET IN ARCHITECTURE

Katerina Novakova

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CHALLENGING THE CONVENTIONAL Anna Tsagkalou

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AUTHORS 5

15 Paths to Sustainability:

FOREWORD by Arthur Mamou-Mani

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iving with tight schedules and taking advantage of modern teleconferencing tools, we chose for this foreword to host an interview with award-wining UK-based architect Arthur Mamou-Mani on design and fabrication, innovation, sustainability and the power of the community. Arthur’s introduction is perhaps the best opening statement for the book, since his work and approach embed all the principles advanced in this book: sustainable design, innovation, social design, public participation and circular design.

Thank you Arthur, for joining us in this interview.

How do you associate your work with the principles of sustainable design, innovation and community?

I like that you include the word community, because often the discussion leaves it out. Because very often, architects think of design sustainability as one package where everything is about technology.

Actually, technology is deeply human. Every time I hear discussions about technology in design and innovation, it feels very robotic. You are told that this is the tech of the future, that we should all switch to it, and that this will change the way we do things.

And often the humans are left to a side, and people are slightly disconcerted by this vision. I think that this happens because we put the discussion on a pedestal, and we don’t allow for participation and community. And this is why I really love about what you are talking about in the book. The social aspect of sustainability, should always be included, but is

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often not integrated in the conversation.

At Mamou-Mani Architects, when we do installations, there is always an element of education, a need to explain the science behind these complex projects, because a lot of the time, sustainability is considered independently of its metrics. So people can easily fall into the trap of greenwashing, where one says that something is sustainable, but in fact it is not. Because you don’t know the numbers behind it, and you don’t make use of tools like LCA1, that would allow you to understand the carbon footprint of something you are doing.

Just to give you an example. We are doing a project at the Design Museum at the moment, called Aurora, which will open shortly, and we did a comparison. We compared building it with petroleum-based plastics like ABS2 versus PLA3, a bio-plastic made from fermented plant starch from sugar, which was what we used. After taking into consideration all aspects, from the cost of steel used to the cost for transportation, the energy 1

Life-Cycle Assessment.

ABS is the abbreviation for Acrylonitrile Butadiene Styrene, an opaque thermoplastic polymer, a highly versatile type of plastic that is used for many different kinds of manufacturing in housing, the auto industry, toys and many consumer products.

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PLA is the abbreviation for Polylactic acid or polylactide, which is deemed to be a bio-plastic, made from renewable materials, and thus recyclable and compostable under industrial conditions, though its biodegradability is a disputed topic.

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difference of just this one material, is the equivalent of the energy needed to build ten electric bicycles.

This is amazing, since we are speaking about a 140 m2 pavilion. Yet the difference between using a bio-based versus a petroleum-based material is quite remarkable.

Yet despite the carbon emissions, there is a dispute about using this material rather than the other.

You may often hear one is worse than the other, but without the math. I remember when we did the Conifera by Cos project in Milan, we were immediately told ‘PLA is worse than ABS!’ Because people think that it is bio-degradable and dispose of it irresponsibly, although it is compostable under industrial conditions. But this diverts the discussion from the metrics behind it, or the science behind

it. While the limitations of the material can be overcome, in terms of energy consumption, producing PLA needs 80% less energy than ABS. And as it comes from a renewable source, which means we can grow it, as opposed to petroleum, a non-renewable fossil fuel which will eventually disappear like any mined resource, we are moving from mining to growing. A huge shift in concept.

Because, when we say the word ‘sustainability’ we mean that something can sustain itself. But if you use a limited resource, you are immediately in non-sustainability mode. So when you hear comments like ‘PLA is worse than ABS’, it really is shocking. How can a renewable source be worse than a non-renewable source? Even just as a concept? Ignoring all the statistics that support the position.

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15 Paths to Sustainability:

ACKNOWLEDGMENTS

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or fifteen years, ECOWEEK has been connecting with extraordinary professionals, academics and thousands of students from around the world, as well as with public officials and public bodies, NGOs, organizations, innovators, active citizens and local communities. They have all brought their ideas and expertise, as well as their exceptional creative talents, to the ECOWEEK platform, but above all they brought an innovative approach to sustainability. They connected ECOWEEK to local contexts, making the design process participatory and relevant both to the global climate crisis, and to local challenges.

This publication is dedicated to all of them, to acknowledge and thank them for making the ECOWEEK platform ‘one of the most unique for young professionals and students in Europe’, as one of our young participants once wrote.

This book would not have been possible without the contribution of professionals from around the world.

We host their expertise, examples of their work, their ideas and vision and we are inspired by their leadership in sustainable practices. Their extraordinary work in their respective countries is important not only to the local context, but it also serves to provide examples of good practices for a wider audience. We thank them for joining this publication and we hope that their example and work will inspire other professionals, whether they are at the beginning of their careers or well-established.

We extend our gratitude for the generous support of Galenica SA of Greece, which has supported this publication with a grant. Galenica SA has also been a supporting partner of ECOWEEK in Bucharest, Romania in 2016, where ECOWEEK workshops developed, among other things, healing gardens for a public hospital.

We truly appreciate the support and leadership of Galenica SA in making ECOWEEK initiatives for public benefit possible, and this publication now makes the experience accessible to a much wider audience.

We thank the team behind this publication: the book’s graphic design and layout was masterfully undertaken by Artemis Petropoulou of Red-T-Point in Athens, Greece. The language editing of the manuscript was completed in the professional hands of Paspartu in Athens, Greece.

This publication is based on the cooperation of many professionals. However, the responsibility for the final product remains ours. We welcome constructive feedback and criticism in the (hopefully unlikely) event of errors or omissions, so that they can be corrected in future re-printings.

We invite you, if you found this publication inspiring, to share its ideas with friends and colleagues and invite them to join the path to sustainability.

Elias Messinas with Despoina Kouinoglou Aegina 2021 12

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IMAGES PREVIOUS PAGE Restoring an elementary school vegetable garden with urban mining of materials donated by local hotels in Ag. Nikolaos, Crete, Greece in ECOWEEK 2016.

THIS PAGE: 1. ‘Towards Intersectional Justice’ webinar based in Rome, Italy in ECOWEEK 2021.

2. Bio-based materials structures in Tilburg, The Netherlands in ECOWEEK 2017.

3. Workshops hosted at Holon Institute of Technology (HIT), Israel in ECOWEEK 2019.

4. Placemaking workshop in Jaffa-Tel Aviv, Israel in ECOWEEK 2017.

5. Placemaking workshop in Neot Shoshanim Community Center, Israel in ECOWEEK 2019.

from Innovation to Social Design

INTRODUCTION by Elias Messinas

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ifteen years is a long time. ECOWEEK was born the same year as my second daughter, Noa Or. Establishing an initiative like ECOWEEK was a reaction to the overwhelming input from the interdisciplinary Master’s program on Environment and Development at National Technical University that I was attending at the time.

The program’s input combined with a sense of responsibility, the weight of this thought, that ‘now that I have two daughters (my third daughter was born two years later) I must do something about their future. Not in terms of things, but in terms of their most basic needs: a world that is healthy, sustainable, nurturing, livable and safe. At least the same or better than the world I inherited from my parents, able to sustain their lives, their professional dreams and potential, and a safe place to grow professionally, socially and create their own family.’

After fifteen years of intensive professional activity, engaging with ECOWEEK workshops, lectures, public discourse and panel discussions, involving thousands of professionals and individuals of all ages, communities, students, and the public, I am still amazed to hear comments like ‘Climate change is knocking on our door’. ‘No’, I reply with amazement. ‘Climate change and environmental degradation are not knocking on our doors anymore. They are already in our homes. In our work and in our lives. In the food we eat, in the water we drink and in the air we breathe. The chemicals and pollutants are in the earth we grow our foods.

Whether we like it or not, whether we intended it or not, the climate crisis is already part of our life’. Climate change was knocking on our door half a century ago. Back in the 1970s, when scientists started to warn politicians and the public that the planet was warming up. They identified the problem,

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through very accurate observation and extremely sophisticated computer models, and tried to inform decision makers about it. But, thinking that the political cost was too high, no substantive action was taken for many decades. Today climate change is evident, visible, in most parts of the world, and its consequences are unfortunately extremely unpredictable and dangerous. The costs of the destruction caused are estimated in the billions.

Still, despite all the declarations and often good intentions, substantive action is still not being taken, and collective ignorance, indifference and apathy are taking on more and more alarming proportions. Scientists and economists predict that the cost of climate change-related damage will continue to grow and absorb ever-increasing sums of public and private money, draining funds from health or education. For this reason, the action taken by organizations, professionals, individuals and certain governments around the world is extremely important and inspiring. We have to help these action initiatives to gather momentum, so that they can be embraced by societies across the planet.

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Thus, hopefully, we can collectively address this global crisis.

Today, after two years of dealing with the COVID-19 crisis, we have learned important lessons about reacting to a global crisis. We saw how collective reaction bears fruit, but we also experienced the effects of lockdowns on global and local economies. This invaluable experience may guide us to the solutions we need to apply to the climate crisis, solutions that can address the crisis, create more resilient communities, and support an adaptive and circular economy.

Changing the way we approach design is also part of the solution, and a way to address the climate crisis. Learning from experts how to apply sustainable, social, innovative, and circular solutions is what this book is about. At ECOWEEK, for more than 15 years, we have promoted solutions in sustainable design as an effective way to address the current climate crisis while supporting the economy.

The work presented in this volume covers a wide

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range of sustainable design areas, offering relevant ideas and inspiration to a wide range of design fields that may interest professionals and students.

Many of the professionals in this publication are applying design solutions that may seem ahead of their time in some countries. Experience has shown that what seems distant and irrelevant in our present context may soon become common practice. It may take ten years or more, but inevitably in a globalized economy with digitally-networked societies and a global environment without borders, good and bad things will eventually reach our doorsteps. For many young professionals and students, this may very well serve as a glimpse of the not-too-distant future, for their studies, research, and career choices.

We hope that the examples and choices made by the professionals in this publication will inspire others. Design should not only serve society in creating a better human-made environments, but it should also be a driver for change and a pioneer of sustainability.

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IMAGES 1. Placemaking in Holon Community Center, Israel. Creation of an outdoor community library and hydroponic gardening with materials from urban mining (wooden pallets, pipes, and furniture) in ECOWEEK 2019 in Holon, Israel.

2. ECOWEEK 2013 in Krakow, Poland.

3. ECOWEEK 2017 in Tilburg, The Netherlands.

4. Tea and seeds gift by Rhoeco at ECOWEEK 2021 in Aegina, Greece.

5. Placemaking in Holon Community Center, Israel in ECOWEEK 2019.

6. Placemaking in London, UK in ECOWEEK 2014. Photographer: Antonina Bukowska.

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15 Paths to Sustainability:

ECOWEEK and the representation of paths towards sustainability Stefanie Leontiadis

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n 2011, I participated in the 6th ECOWEEK international workshop in Thessaloniki, entitled “Urban Communities and Green Architecture”, as part of the team headed by American landscape architect George Hargreaves on “An Ecological Corridor for Thessaloniki”. At that time, I was a PhD student in Urban and Architectural Design at the Politecnico di Milano of Italy, exploring the topic of how to define a syntax of public open urban spaces in the contemporary urban environment.

My reason for attending the workshop, aside from my continued efforts to actively participate in international conferences and design workshops

with a special interest in sustainability in a variety of cultural contexts, was to understand more of the analytical and representational possibilities of sustainable design solutions. Ultimately, my analysis revealed four main categories related to the 2011 ECOWEEK theme, that loosely or specifically apply to any project looking for a more environmentally-friendly outcome: a) to extract linkages between activity and spatial patterns in human settlements, which when repeated over time, seek to form islands of local order, and structure the larger patterns of global, ecological and economic flows; b) to create layers

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meaning? What impact does it have? These are all questions that are couched in the language of the representational system. All of the works presented in this volume also serve to offer a relatively recent syntactic vocabulary or approach.

They highlight individualized conceptual routes which nevertheless fall under a common umbrella: the search for innovative paths towards sustainability. Under this umbrella, readers may also perceive commonalities in the relationships evolving in the distant spaces of these separate architectural interventions and proposals. The hope is that readers may further relate these globally-collected proposals as potential solutions or feasible propositions that can be adapted in an endless multiplicity of local settings.

References Hargreaves, G., Karydi, I., Maroulas, V., Avasak, G., Chatzivasiliou, A., Kazas, C., Lambrou, M., Lazaridis, P., Leontiadis, S., Pachi, M., Papadopoulou, A., Pippa, D., Stojanovic, M. and Tzalla, O. (2011). ‘W1: An emerging eco-corridor’. In: E. Messinas (ed.) (2016). ECOWEEK 2016: The Workshops. ECOWEEK 2016.

Leontiadis, S. (2015). The Architecture of Public Open Urban Spaces: Syntax and Representation. Saarbrücken, Germany: OmniScriptum GmbH & Co.

IMAGES 1, 2, 3, 4. ECOWEEK 2017 W1: An Emerging eco-corridor in Thessaloniki, Greece workshop presentation.

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15 Paths to Sustainability:

A. SUSTAINABLE DESIGN

ONE PLANET LIVING Benjamin Gill, Bioregional

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ny cursory glance at the state of the planet’s natural environment quickly reveals that our only home’s vital ecosystems are in rapid decline. Despite the recent COVID-related travel restrictions, global carbon emissions continue to break records and the Living Planet Report of 2020 has reported an average decline of 66% in animal populations over the last 50 years. And the science of planetary boundaries shows that we are close to many tipping points that, if passed, may turn the planet into a state where it is only able to support a much smaller human population.

This stark picture highlights a number of key issues. First, we have moved well past the point where we can simply reduce our impact on the environment. We must now actively regenerate and rebuild our planet. Second, this challenge is too big for any one project or organization to address on their own. We need collaboration.

When we consider sustainable design, it must fit into this global context and include strategies to actively help regenerate the planet. Likewise, designs must focus on how the building can encourage and enable the occupants to live sustainably. Addressing these two issues requires a strategy of collaboration with key stakeholders: material suppliers, construction teams, the municipality and local service suppliers.

Bioregional’s first foray into sustainable design was the development of the BedZED eco-community in South London. This iconic development was A. SUSTAINABLE DESIGN

highly successful at reducing residents’ energy and water consumption and even their transport impact. Yet analysis of the average resident’s ecological footprint showed that it was only possible for them to achieve a sustainable level of consumption if they avoided using the city’s local services, all powered by fossil fuels, and ensured that all their purchases were sustainable. So to be truly sustainable they had never to leave BedZED and could buy almost nothing!

This led to two key innovations in Bioregional’s approach. The first was the development, with WWF, of the One Planet Living framework comprised of ten simple principles, plus detailed goals and guidance documents. The second part involved an increased focus on working with municipalities, cities and companies to broaden the scope of any development’s positive impact.

The One Planet Living framework is rooted in the science of planetary boundaries and yet is highly flexible and easy to understand. For 20 years, it has been used to generate restorative, zero-carbon

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RE-THINKING HUMAN DESIGN ASPECTS IN THE ROLE OF A GREEN SCHOOLYARD Theodora Kyriafini and Fotini Lymperiadou, euZEN Architecture with Nikolaos Protogeros

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wo examples are presented. The first one is of small scale, arising from an ECOWEEK Workshop in 2016, a design intervention to an existing small school courtyard. The second one is of larger scale, the award-winning Innovative Bioclimatic European School Complex and its school courtyards. Both are in Crete, Greece. Both focus on the creation of a natural environment which is able to play an important role in the psychomotor development of children and in the improvement of the microclimate.

BIOCLIMATIC AND ECOLOGICAL INTERVENTION IN THE 5th ELEMENTARY SCHOOL YARD, IN ECOWEEK 2016 IN AGIOS NIKOLAOS, CRETE, GREECE1 The aim was to design interventions for the small school courtyard of the 5th Elementary School in Agios Nikolaos which could be easily implemented by the municipality at low or virtually zero cost. Designing with nature in mind, We acknowledge and thank the ECOWEEK workshop team.

Workshop leaders: Theodora Kyriafini and Fotini Lymperiadou, euZen Architecture with Nikolaos Protogeros, Environmental Studies. Workshop group: S. Adamaki, A. Cheimonaki, A. Drosouni, K. Fotopoulou, G. Pantidou, E. Siskaki, C. Sofiou, M.

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Stiakaki, and M. Tzavla.

employing principles of sustainability, ecological materials and a human approach, any space can act positively on the user’s psychology and bring people together, because nature works as the catalyst.

The existing Elementary School yard was completely bare, laid with concrete, and surrounded by prefabricated container-like classrooms. This resulted in an uninviting school environment, leaving the pupils unprotected in winter weather, and with no shade in the summer. Dangerous and slippery, it was a source of tension, aggression and disorientation.

Pupils were asked to prepare drawings of how they envisioned their ideal schoolyard, which were full of trees, flowers and places to play. The workshop’s proposal was an environment where pupils would be embraced by nature, creating a small oasis with possibilities for exploration, which could act as a source of stimuli for the senses and the mind, help to focus concentration within the learning process, as well as offering active environmental education.

Creating a happy environment expressing the joy of life was the goal. The proposal incorporated the following recommendations based on the use of

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15 Paths to Sustainability:

HEALING GARDENS Radu Negulescu and Ana Muntean

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‘Evidence shows that a simple view of nature can radically improve health outcomes. So why couldn’t we design a hospital where every patient had a window with a view? Simple sight-specific designs can make a hospital that heals!” (Michael Murphy – ‘Architecture that’s built to heal’)

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EALING GARDENS explores how people relate emotionally to their physical surroundings, the degree to which physical environment affects behavior, and how the built environment can facilitate patient healing.

The program starts from the need to improve mental comfort in hospitals. Although the purpose of hospitals is to heal people, over time these institutions have become sources of stress for the afflicted. At the national level there is a generalized fear of ending up in such a place. The fear is justified, not only because of the idea of being ill, but also due to the idea of staying for even a few days within the walls of such a colorless and highly stressful space. A space that more or less induces disease as an idea associated with human indignity.

Naturally we are built to run away from things that hurt us. The instinctive desire to run away from

danger and to preserve ourselves leads to states of both mental and physical stress; we feel the need to stay on the alert, which can amplify illness as experienced by patients.

Starting from the genetic need of the human body to connect with nature, our aim is to build the theme of the program around creating a stronger connection between humans and nature. This connection nowadays seems to be fading rapidly, leaving us with the impression that it may be more like a trend towards biophobia.

By contrast, we are implementing a program using the principle of biophilia, namely that the connection between body and nature is not only a mental one, but that it is also genetic. In analyzing human behavior, it can be seen that there is an often unconscious movement to re-connect with nature, which is achieved by visiting parks, walking in the mountains, engaging in outdoor sporting activities, etc. When we talk about the positioning of buildings in relation their natural environment, we are talking about biophilic design. a concept that involves making the connection with nature using simple design methods which stimulate the psyche.

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15 Paths to Sustainability:

B. CIRCULARITY

Designing a Circular Pavilion: Upcycling in Design using the Harvest Map Margarita Kyanidou

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B. CIRCULARITY

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ver recent years, the circular economy in architecture has been attracting more and more attention. Researchers, companies and startups are focusing on creating a circular framework for designers and architects, leading to new ways of thinking in architectural composition. It is however widely admitted that the knowledge and tools to make the concept a reality still need to be developed. A lot of research has been conducted into the ways in which different parts of a building or structure could in general be reused or recycled after its expected end of life, but it is also equally important to research the way in which this approach is influencing the design process at its core.

Economy in 2020 was the perfect opportunity.

There couldn’t be a better way to reach conclusions on this subject than an active workshop with students on the key role of the design process, with the object of using circular economy design principles as practical tools to develop a complete small-scale design. Consequently, the ECOWEEK Meet-Up 48-Hour Online Challenge on Circular

Inspired by the ECOWEEK 2015 workshop in Thessaloniki, Greece, where a wood pavilion for Aristotelous Square was proposed, the aim this time was to redesign it using primarily reused materials. Due to the short design time, the proposals could be draft designs, sketches, or diagrams.

The aim of this workshop was the design of a pavilion with reused materials acquiring a second life, bearing in mind that they have to be entered in a materials library for subsequent reuse. The materials library used in this case was the Harvest Map by Superuse Studios. Harvest Map is an opensource online platform hosting a huge materials library of reused products from different sectors in which designers, architects or engineers can access at any time as needed. Reused products from all over the world can be registered on the map to be reused again and again, closing one loop after another.

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15+ Paths to Sustainability:

The paradigm of sustainability between ‘building rehabilitation’ and ‘restoration of modern architecture’ Μaria Carmela Frate

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BOUT SUSTAINABILITY The environmental system has a reticular geometry. Inside it, the system seeks its balance. When an environmental stress occurs, a poorly resilient eco-system shows its fragility, whereas an adaptable eco-system remodels itself. If an ecosystem is not resilient, we need to use sustainable strategies to enhance its state.

Generally speaking, we need to disambiguate the word ‘sustainability’, even as a buzzword.

In 1987 the Brundtland Report associated the word ‘sustainability’ with the term ‘development’, but these two tend to clash with each other because development is perceived as having an anthropocentric meaning. According to the ecocentric vision, sustainability is the quality of no causing damage to the environment - the correct term would be ‘degrowth’1.

Therefore, it may be more appropriate to use the term eco-sustainability (prefix eco, from Greek Oikos/home), representing sustainability of our environment. Eco is also a part of terms eco-logy 1

by Serge Latouche, 2007.

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and eco-system. Inside systemic organization, human beings create architecture for living, which affects how they relate to each other and to other parts of this so-called ‘system’.

The first definition of sustainable architecture dates back to 2004. According to this definition, architecture is sustainable if it is able to compensate for deficiencies, employing technological innovation as appropriate to minimize adverse impacts on the environment, therefore rendering it eco-sustainable.

ABOUT ‘RE-USE AND RECYCLE’ BUILDINGS In 2004, the European Conference on Sustainable Cities signed the Åalborg Charter commitments.

Under this agreement, commitment No 5 concerns recovery, restoration, reuse and regeneration of buildings and towns and cities, focusing on existing buildings.

Later, in 2012, the motto of Muck Petzet, curator of the German pavilion at the Venice Biennale, was ‘Reduce/Reuse/Recycle: Architecture as Resource’. According to Petzet, we must renew our approach and aim to use pre-existing buildings,

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Reuse of Marine Plastics Panos Sakkas and Foteini Setaki

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The New Raw: Sustainable design with plastic waste & digital craftsmanship

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e presented our work at ECOWEEK in May 2020, during the COVID-19 pandemic. In this context, everyone was working from home and all public events and workshops were held digitally. This unusual situation raised many questions about the future of living and working spaces. Is the ‘new normal’ (whatever that is) here to stay, become quickly outdated or even cease to exist?

At the same time, we are living in a period where digital fabrication technologies are empowering us to think, design and produce the objects that surround us at a faster pace than ever before. Furniture is no exception to this rule, and this is why it is now even more imperative that it should be designed and produced sustainably.

From the beginning, when it was founded, The New Raw, has focused on developing sustainable products and production processes. We are doing this by taking into consideration end-of-use cycles, using waste material as an abundant local resource and digital fabrication as a decentralised and localised production method. Working towards a sustainable future, we often ask ourselves 3 questions, which also define our core values:

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15 Paths to Sustainability:

C. PUBLIC PARTICIPATION

Public Participation in Planning Elias Messinas

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C. PUBLIC PARTICIPATION

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ublic participation worldwide is becoming an integral part of the planning and decision-making process. Politicians, planners, architects, engineers and designers are starting to realize the benefits of unlocking the potential of public engagement in projects of public interest. We will attempt here to offer a short introduction to public participation, its characteristics and goals, its benefits, challenges and drawbacks, and some of the methodologies that apply to planning and sustainable design. We hope that this short introduction will open a window of curiosity for further reading and learning about how to work with the public, and not just for the public.

What is public participation? Developed in the 1970s, participatory processes were incorporated in the Brundtland report (1987) and later in the principles of the Rio Declaration for Environment and Development (1992). According to Patsy Healey

(2008), public participation, or civic engagement, is the engagement of the public in the planning process in the form of public involvement, advocacy planning, citizen participation, collaborative planning, and inclusive partnerships.

The OECD handbook on public participation in policy-making (2001), suggests a practical road map to the active engagement of citizens in decision-making, through open working groups, laymen’s panels and dialogue procedures, by ensuring access to information, opportunities for consultation and public participation in policymaking. Since the year 2000, the European Commission has also adopted directives (such as the Aarhus Convention 2003/2005/2020) on public access to environmental information and public participation in environmental decision-making, offering European citizens and civil organizations the chance for greater involvement and influence in policy development.

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Participatory Design and Public Participation in practice Elias Messinas

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ngaging in public participation for almost a decade has been a process of constant learning from experts and the public. In this case, the experience comes from involvement in managing public participation at Ginot Ha’ir Community Council, one of the 27 community councils of the city of Jerusalem, especially intense now that the city is undergoing an extensive process of urban renewal and infrastructure upgrade.

Urban populations are growing. They are expected, by 2050, to account for more than 70% of the world population. As cities grow, urban needs for services and public spaces grow. Emerging new technologies make cities ‘smarter’, and also allow for better communication and transfer of information, permitting urban residents to be more connected and better informed, offering them access to greater involvement in the way in which the city is run, planned and developed.

Jerusalem is a city with an ancient history, having been destroyed and rebuilt at least twice. It is also a city in growth, with a population of almost one million, expected to grow by 40% by 2040. Based on these demographic projections, the city has started out on an unprecedented urban renewal program (the Pinui Binui and Tama 38 programs) with the

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object of building tens of thousands of new housing units with increasing urban density. In addition, the new mayor, Moshe Lion, has initiated infrastructure renovation projects to rehabilitate streets and sidewalks, parks and public spaces. Lastly, the Ministry of Transportation, in collaboration with the city, is in the process of upgrading the public transportation system with new light rail lines, bus routes, and bicycle paths.

The implementation of these plans does not just impact the lives of thousands of residents on a daily basis. It also requires a certain degree of participation, for the residents have to have some say in how the city is changing. How much more densely-populated can neighborhoods become before sunlight, views, traffic, parking, and qualityof-life are negatively affected? What ought to be preserved in order to maintain the character of historic neighborhoods? How can green spaces be expanded with each new development and made more accessible to people, despite specific topographies? And how can the city increase its population while at the same time providing adequate solutions for schools, kindergartens and other public facilities?

We will share a number of examples, based on Arnstein’s (1969) ‘ladder of public participation’, in

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Design and Participation: Towards a New Concept of Care Maria Anastasiadou and Ellie Petridi

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Designing a workshop on design

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hen we were invited by ECOWEEK to design a workshop under the general themes of ‘History – Tourism - Sustainable Design: Aiming Towards a Sustainability Vision in Practice’ our immediate response was to incorporate a participatory approach for the reactivation of public space in Aegina, Greece. In our view, sustainability is inextricably linked to care for the environment, natural as well as built, and participation is a form of care. But we will elaborate on this in the second part of this piece.

Re_[Design] workshop focuses on exploring the possibilities for a qualitative expansion of public space, in order to offer more stimuli and opportunities for social interactions. In other words, we propose rethinking public space in Aegina as

an inclusive playground. The title is a reference to various verbs that influence our design process: rethink, reuse, renew, reinvent, but also remember, respect, relate, reflect. They articulate the steps we take into account while designing for a more activated and inclusive public space.

We think about design within the framework of two inspirational quotes: ‘Form Follows Function’ and ‘Form Follows Fiction’1 At the intersection of these two guides, we try to transform imaginary structures into functional and stimulating architectural interventions. To this end, we strongly believe that public participation at certain points of the design process has the potential to accelerate it and make it more relevant. In fact, we endorse Rephrasing of Susan Hofmann’s (dieBaupiloten) title “Form Follows Kids’ Fiction” in Hofmann, S. (2012). “Form Follows Kids’ Fiction. Participatory and Interactive Architecture for Schools and Nurseries”. Education and Architecture, 238-245.

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The ArhiPera Summer Schools (2012-2019) Lorin Niculae and Alexandra Purnichescu

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he ArhiPera Summer Schools are based on an open approach and represent a human way of looking at architecture that aims to make life and society a better place for vulnerable communities affected by extreme poverty. By providing people with a home, they also get the chance for a new start in life and hope for the future by means of an integrated approach, which is also based on finding solutions for education and employment.

Eight versions of the ArhiPera Summer School of Social Participatory Architecture have been held over a span of 9 years in Călăraşi County, in the south-eastern part of Romania, and Buzău County, central Romania.

Following the concept of best practice in the field of participatory architecture, the projects undertaken during the summer schools focus on continuous communication, empowerment and civic participation in order to elaborate public policies in housing. Addressing the process as a whole, rather than its form, is one of the policies promoted

by ArhiPera and this approach is applied through design-built activities.

Two key theoretical concepts – sustainability and participation – lie at the core of the approach.

It is a non-formal experience, dependent on collaboration, motivation, involvement, solidarity, creativity and experiment. These are more than just words, they are reflected in the students’ work and their evolution, as well as in the design of the

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Participatory processes in urban design projects in Brazil Luis Rossi, Nicolas Le Roux and Paula Lemos

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o share a little bit of the scenario surrounding participatory processes in Brazil from the perspective of urban projects, we have to face the fact that the opportunities for popular participation in urban design projects are very scarce and poorly structured.

With regard to the scarcity of opportunities, we can identify some reasons for this. While in countries such as France, where the law states that architectural projects with a cost of more than 133 thousand euros (2006 data) must be contracted via architectural competition, in Brazil, the regulation of contracting occurs through the Lei de Licitações (8,666 of 1993) which, despite making provision for and recommending competitions, does not establish mandatory use of the arrangement, leaving the criterion of lowest cost for the project as the preferred solution.

For most projects of public interest, we also have the obligation of Public Hearings where the projects are required to be presented to the public.

However, these hearings are usually seen as a purely bureaucratic process, carried out in haste and on a recurring basis, ensuring that political decisions override public opinion.

In the last revision of the São Paulo Strategic Master Plan in 2014, guided by a government that valued popular participation and the creation of a more democratic city, the entire process was nourished by countless participatory meetings, public hearings and digital contribution tools that allowed the construction of a new, more tangible and visual version of the document. Different representatives of societal groups have been involved in this process over the years, creating a result that was praised by UN-Habitat, and which inspired several other cities. However, the new revision due to take place in 2021 under a new government has not yet positioned itself in the same direction, causing various entities linked to the city to initiate formation of a movement to exert pressure and demand participation.

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D. SOCIAL DESIGN

SOCIAL DESIGN: INTRODUCTION AND APPROACHES IN PRACTICE Despoina Kouinoglou

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here are many definitions of the term of social design and they seem to be different in each discipline or field of study.

However, social architecture can draw upon theories from a number of established academic disciplines, including political science, psychology, sociology, economics, and anthropology.

One may wonder, isn’t architecture or landscape architecture social by definition? Well, the answer is that there is no single yes or no answer. The reality and history have proven that the largest urban regenerations have been achieved in order to resolve social issues, whether they were related to spatial, environmental, health or other issues.

However, today’s architects, landscape architects and designers are by no means innocent and their proposals are definitely not apolitical. The industry has proven this too many times and clients’ demands may often lead to decisions that are not always sustainable or socially driven. The design approaches and solutions adopted may be detrimental to the lives of others.

Social and environmental inequalities may be created or exposed. Some of the recent examples include the wall that has been built between USA and Mexico, as well as the coronavirus pandemic in 2020 and the Black Lives Matter movement, when it became clear that the poor standard of the infrastructure in Black and Latino communities led to further isolation and health inequalities, or even gentrification, and the housing crisis caused in Barcelona due to the operation of the Airbnb platform.

My beliefs and aspirations and my feelings of ethical responsibility to do what I could to help vulnerable populations while trying to preserve and enhance the natural environment led me to the School of Agriculture, and later on to the field of landscape architecture. During my studies in landscape architecture, I believed that social design was mainly focused on or considered to be humanitarian architecture. It also seemed that there was a lack of social research in the field of landscape architecture, and only within the field of urbanism were participatory design processes able to become the protagonists in the studies of public and social life.

In my view, it seems to have been easier to define or characterize the design of refugee camps or social design projects in Africa and other countries as isolated social projects. However, this approach significantly changes when it becomes clear that by designing and creating inclusive, safe, sustainable and interactive places in a thoughtful way, then the physical, humane and natural environment can be at the forefront. This approach can actually make an impact on users’ lives and experiences, and can lead to sustainable green and blue solutions.

And as chance would have it, this is nothing new.

Its roots go back to Central Park in New York and its creators F.L. Olmsted and C. Vaux, who established the typical American urban parks. The concept and design of Central Park was based on European standards, and the main reason for its creation was its social aspect, open to everyone, of any status or ethnic group.

Today, more than ever, it is crucial that we go back

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The Redesign of Refugee Camps and the Connection and Integration of Refugees with Local Communities through Space Despoina Kouinoglou

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nternationally, in the permanent artificial facilities which refugee camps become, many of the problems that arise are the products of inadequate planning, design and decision making, characterized by an absence of integration of the cultural traditions and needs of users that could focus on the organization and reclamation of social life. These inadequacies of planning and design can either reinforce social exclusion, or we can see them as a catalyst for action, in the integration of refugees and the creation of a multicultural society.

It is time to rethink the spaces assigned to refugees and to take under consideration all the elements that could transform these places into decent living spaces, because the need for quality spaces remains, regardless of the citizenship status of an individual.

The aim of this study is to showcase the quality of spaces within refugee camps, both in Greece and across the world, through a review of the literature and a case study of Lagadikia, Greece, the main goal being to identify solutions that promote and organize social life within the camps and serve to connect and integrate refugees within local communities. The study1 was initiated during I take this opportunity to thank the people that helped in making this study possible: Dr. Aya Kubota and the University of Tokyo, Kyriakos Giaglis, Evi Papatheodorou, Frederick Mungongo Lisa McMunn from Danish Refugee Council, Mr. Theofilachtos Sidiropoulos and the Ministry for Migration Policy in Greece, Liat Rennet from IsraAid, Dr. Lena Athanasiadou and Euthimis Charalampidis, Dimitris Nanos, the ECOWEEK workshop team, and the ECOWEEK organizing team. The study was further developed as my thesis for the Postgraduate Program of Studies in Landscape Architecture at the

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the ECOWEEK 2016 workshop in Thessaloniki, Greece, led by Despoina Kouinoglou, Dastid Ferati, and Astrit S. Rraci2. The ECOWEEK event titled ‘Placemaking in One Planet’, aimed to address

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Polytechnic School of the Aristotle University of Thessaloniki, Greece under the supervision of Professor Kiriaki Tsoukala.

The workshop team included Smaro Dalakoglou, Erica Galiti, Vasiliki Fragkaki, Anastasia Koktsidou, Alexandra Ktenidou, Margarita Kyanidou, Korab Mahmuti, Christos Margaritopoulos, Haya mani, Georgios Melissourgos, Danae Melita, Iliana Skaragkou, Alexandra Souvatzi, and Eleana VlachakiStamatopoulou.

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EOOS ODM AND ZUV PROJECTS Lena Beigel and Georg Sampl

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OOS NEXT is a diverse group of designers/ architects/theorists who apply sustainable and social design strategies to a large variety of projects.

By employing industrial design strategies to respond to the great challenges in our world, such as the climate crisis and social injustice, design is applied as a tool for social change. We aim to create alternatives for future sustainable lifestyles.

We make ‘Design for the Real World’ (Victor Papanek, 1971).

We base design on transformative technologies and strategies. We have a systemic view. We love local production, open design, and high-tech.

We promote circular design methods to help industries on their path toward a circular economy.

We partner with pioneers and changemakers. We run a social business.

EOOS NEXT design studio focuses on translating technologies into products and visualizing them in full scale for test sites in Europe, Africa, and India, with support from local teams specializing in technology installation and maintenance, scientific

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research, and test site setup. We use state-of-theart software and rapid prototyping technologies, such as additive manufacturing, to visualize future-oriented products. The studio works on the basis of design contracts, research grants, and commissions.

Projects that have been self-initiated recently include mobility concepts (ZUV), and open design projects, such as the ODM, an open design mold for bottom of the pyramid sanitary applications.

Given that more than 35% of the world’s population lacks access to safe sanitation, the vision of ODM is to empower local craftsmen around the world to integrate EOOS NEXTs ‘URINE TRAP’, a passive urine separation technology, into locally-produced squat toilets by supplying a simple mold.

With a grant from the Bill & Melinda Gates Foundation under its ‘Reinvent the Toilet Challenge,” EOOS has developed a separation system that can be universally applied to all typologies of washdown toilet design: pedestal or squat pan, cistern flush or pour-flush, washers or wipers.

Urine diversion is key to improving basic sanitary

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ον τηε εdge Ulrike Schartner

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n the late 1980s, during my time as an architecture student at the University of Applied Arts in Vienna, the real estate sky was blue, the developer’s coffers were bursting and builders were hurrying to leave a spectacular structural mark of their success. We were made to believe that it was an Eldorado for newly graduated architects.

In our design tasks, spatial and constructive themes as well as material interrelations were in the foreground. What one could ultimately do in these fantastic spatial structures was not precisely defined. Everyone would find their place, provided the qualities of the space were diverse enough.

Already, albeit quietly, the question of priorities was stirring. Wasn’t the purpose of architecture to meet our human needs? Even the most basic of needs like a roof over our head or a meeting point for exchanging thoughts, goods or knowledge? A

place of production, a place of culture, a place of retreat?

Who should determine whose needs should be met? Is it a question for the democratic process, a question for the market, or a question of power?

What role does an architect play in these deeply political and ethical questions? Are you a service provider, consultant, plan supplier?

To us at gaupenraub +/- (founded by Alexander Hagner and myself in 1999) these questions may not always have been as prominent as they are today, but they have been with us nevertheless, since the beginning of our professional lives.

At first there were small voluntary/pro-bono projects in addition to the ordinary ones: the redesign of an abandoned pizzeria into an emergency shelter for

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E. INNOVATION

ECOWEEK INNOVATION When nanotechnology inspires design Kostas Giannakopoulos and Nafsika Mouti

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he research projects and futuristic ideas of the National Center for Scientific Research ‘Demokritos’ have inspired architects, designers, physicists and material scientists to develop new sustainable and functional construction materials as well as to explore new ways of exploiting advanced technologies with the ultimate goal of bringing research work closer to society and to its practical application. In this context, several researchers collaborated with the workshops of ECOWEEK. Projects involved solar cells, waste composting, self-cleaning and antiviral surfaces, the Internet of Things, as well as several other smart and advanced materials applications, the most characteristic of which are the following.

The aim of the ECOWEEK workshop1 that took

place in 2015, was to incorporate aspects of nanotechnology in traditional building materials such as ceramic roof tiles. Work on various aspects of the product design and performance of ceramic roof tiles led to a successful redesign of both the shape and microstructure of the product, in order to produce basic ideas for a new multifunctional construction material. Ceramic roof tiles are sustainable building materials with a long history and extended technological evolution over the ages. Ceramic roof tiles have proven their sustainable nature: they are made of soil and water (clay), they are (by default) low cost and have low environmental impact, given that the raw material requires minimum processing and (compared to conventional cement) they are fired at a lower temperature. Overall, not only are they sustainable, but these are also traditional durable materials, totally recyclable with non-toxic by-products.

The ECOWEEK 2015 W12 workshop titled ‘Nanotechnology inspires design’ was led by Ioannis Karatasios, Nikos Kechagias, Dimitris Raidis, Αlexandros Kouloukouris, and M. Manetsou, and included Sofia Anagnostopoulou, Grammatiki Dasopoulou, Sven Finke, Fofo Kalfa, Vasiliki Katsigianni, Sofia Angeliki Kouvela, Eleni Linaki, Kalypso Mavromati, Panagiota Panagiotakopoulou, Meike Pardey, Ekaterina Starukhina, and Iro Stefanaki.

Following a biomimetic approach and working with technological solutions provided by nanotechnology, this futuristic product could incorporate additional functionalities such as energy production (photovoltaic and thermoelectric), self-cleaning and air purification

Design of a Futuristic Roof Tile 1

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PETMAT recycled PET in architecture Katerina Nováková

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esearch into the use of recycled materials in architecture began at FA CTU Prague, in 2009, with the founding of the experimental design studio Achten - Nováková focused on reuse of waste. The idea was to give waste material value by design. Since we wanted to deliver test results in 1:1 model within one semester, we focused on architectural interior design and architectural details or product designs. From among all the possible kinds of waste products, we focused on the problematics of plastic pollution.

This topic was further developed by studies at ETH Zurich, where our student seminars were focused on the topic of building a 20-meter tower from 150,000 PET bottles collected in the city of Zurich. This was a visualization of just one day’s worth of plastic bottle waste produced in just one single city in Switzerland, this brought us to the implementation of parametric design and

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practical research with the students into the best design methods for working with plastic waste. The research eventually led us to publication of a book about architectural structures built from PET bottles, with multiple examples of its use around the world.

We found that plastic waste is a much larger worldwide problem than we had imagined. We experimented with the use of regular plastic bottles during the years 2011 to 2014 in our experimental design studio at FA CTU, having publicly exhibited installations such as Relax Square or PETvilion, PETbar and finally PETree. During this research, we found that the biggest impact in the campaign to help combat the plastic catastrophe through architecture was by building large-scale exhibits to raise awareness. We concluded that public must be addressed through pavilions and architectural installations in order to take the concept of sustainable living seriously. We found that it makes

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Challenging the conventional Anna Tsagkalou

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ow can we transform our built environment so that it can be sustained over time? And how can we achieve affordable and healthy housing for all, in an era where housing rent and sales prices keep increasing while their quality is not guaranteed?

These are only some of the questions that brought us together in 2017, when as students at TU Delft we joined forces and formed MOR. Our multidisciplinary team competed in the Solar Decathlon Europe 2019, an international competition for sustainable housing. It was a 2-year design process with continuous research, experimentation, debate, innovation, and above all, passion to drive solutions and persist in the mission of convincing the world that there is, and must be, an alternative way to reshape our built environment.

The experience gained during these two years resulted in our team’s deeper awareness of the negative effect that the built environment may have on the planet. It also made us realize that our roles, responsibilities and impact as architects and engineers are more urgent than ever. At the

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same time, the substantial positive feedback and recognition we received made us eager to further explore the feasibility of the solutions we had investigated. As a result, we decided to take the next step and set up our own office, MOR Studio, with the aim of contributing to a more sustainable future in which peoples’ physical and social health and the continued viability of our natural environment are prioritized.

Utilizing the existing In vernacular architecture, resources have been carefully and consciously managed. Even though vernacular solutions cannot fully address the realities of today’s urban lifestyle (such as population density, increased energy demands and modern standards of comfort), they can still be a valuable source of knowledge and inspiration. Looking carefully at them can help reveal the irrationality of today’s construction sector, accounting for 36% of final energy use and approximately 40% of total carbon emissions, while 50% of construction waste ends up in landfills1. This 1

Global Status Report for Buildings and Construction, International Energy Agency & UN Environment Program, 2019.

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Elias Messinas ECOAMA/ECOWEEK

Despoina Kouinoglou ECOWEEK

Dr. Elias Messinas is an architect, urban planner, and a consultant in sustainability and public participation. He is a graduate of the Yale School of Architecture and the Environmental Design Department of Bezalel Academy. He also holds an M.Sc. in Environment and Development from the National Technical University of Athens (NTUA) as well as a Ph.D. from the same institution.

Elias has led public participation processes in urban planning at the Ginot Ha’ir community council of Jerusalem, Israel since 2017. He is the creator of ECOWEEK and the coordinator of its international activity in 17 countries, organizing ECOWEEK workshops in sustainable and participatory design and placemaking since 2005 in cities around the world. Elias teaches sustainable design at the Holon Institute of Technology, and at Patras University. Elias is the co-editor of the ECOWEEK Book#1: 50 Voices for Sustainability, and is the author of books and articles, and the editor and senior writer for numerous collected works. He continues to write and lecture extensively and has curated a number of exhibitions on sustainable design, historic preservation, and architectural travel sketching. (https://ecoama.com and https:// ecoweek.org).

Despoina Kouinoglou is a landscape architect with work experience in the UK. Her projects focus on various scales, including rural, urban and residential schemes, primarily in LVIAs, design codes, public art strategy and detailed landscape design. Despoina has also worked on a rural architecture program in capacity building and development in Mt. Elgon, Kenya as part of her doctoral dissertation research under Michiel Smits (TU Delft, Avans University of Applied Sciences).

Despoina completed her Master’s degree in Landscape Architecture at the Aristotle University of Thessaloniki, Greece (2017) where her interest focused on the social aspects of landscape architecture within communities. Her dissertation focused on the redesign and integration of refugee camps with local communities through design. Despoina has been an associate of ECOWEEK (2015-2021) where she has developed new programs and activities and been involved in multiple in-situ and online international conferences, sustainable design workshops and other smaller events in Greece and abroad.

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Stefanie Leontiadis Stefanie Leontiadis is an independent researcher, architect and artist, with a Ph.D. and European Doctorate in the syntactic expression of public open urban spaces, which evolved from her interest in finding new illustrative and theoretical methodologies of urban space perception and representation.

Stefanie teaches, among other courses, Advanced Representation at the Metropolitan College of Athens, Greece, and she is also active in publishing papers for academic journals, participating in international conferences and workshops, and exhibiting her art.

Benjamin Gill Bioregional Benjamin Gill is the One Planet Communities International Technical Manager at Bioregional (UK). He is a Chartered Environmentalist (CEnv) with the IEMA, graduating in Earth Science from Cambridge University and completing an M.Sc. in Environmental Technology at Imperial College.

Ben has led the development of Bioregional’s One Planet Living framework as a flexible tool that can be used to drive systemic change in organizations and industry, while working with key partners AUTHORS

including Les Villages Nature Paris on the outskirts of Paris and Singita’s conservation and sustainable tourism projects in east and southern Africa. Ben also works at OnePlanet Digital, heading up the Customer Success team and has contributed to the development of their innovative digital platform from its inception.

Theodora Kyriafini & Fotini Lymperiadou euZen Architecture euZen Architecture is an international awardwinning architecture firm focused on providing solutions that represent harmonious integration of architecture with nature, the landscape, climate, and human needs in a sustainable way. The core of the team consists of Theodora Kyriafini, Dipl.-Ing. Technische Univesität Darmstadt, Germany, Fotini Lymperiadou, DipArch University College London, UK, Androniki Lymperiadou, DipArch Kingston University, UK, Konstantinos Despotidis, Dipl. Aristotle University of Thessaloniki, M.Sc. in Environmental Design of Cities and Buildings, Hellenic Open University, Antonia Efthimiadou, Dipl. Aristotle University of Thessaloniki. The company holds a Class D professional license degree for public buildings in categories 6, Building Architectural Design and 7, Special Architectural Design. euZen Architecture aims through bioclimatic, 143

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ecological, holistic and innovative design to create spaces that act positively on the user’s psychology, offer wellness, enhance health and joy. The company’s philosophy is to build with nature on a human scale that embraces each user, following principles of green and low energy design, with low maintenance.

Radu Negulescu Radu Negulescu is an architect based in Bucharest, Romania.

Radu is an associate architect at DOA based in Romania.

Ana Munteanu Ana Munteanu is an architect based in Bucharest, Romania. She graduated in architecture from Univeritatea Spiru Haret Faculty of Architecture and Colegiul Noational Roman Voda in Romania. Ana is a senior architect at HTO Architecture & Engineering in Romania.

Margarita Kyanidou Margarita studied Architectural Engineering at the Democritus University of Thrace. She holds a Master’s degree in Building Technology from TU Delft and she is a 144

researcher on the Circular Economy in Construction and Design for Disassembly. As a student, she attended numerous workshops and seminars on sustainable development in architecture (ECOWEEK, Sudesco, Promoriver, etc). Her research thesis on sustainable educational buildings, was presented at the ACOUSTICS 2016 Conference in Athens. As an architectural engineer, she worked with Superuse Studios in Rotterdam and was involved with the upcycling reused train parts in the construction sector as new building components. In cooperation with MVRDV and Superuse Studios, her Master’s thesis was presented and exhibited in GEVEL 2020 in Rotterdam, promoting the idea of reusing train windows as a complete facade system on different scales. She returned to Greece in March 2020 to continue her research on enhancing principles of sustainability as architectural composition tools, in academia. Since December 2020 she has worked as an architect with the firm of Aristides Dallas Architects in Athens, Greece.

Maria Carmela Frate Maria Carmela Frate is an architect, holder of a Master’s Degree from the University Federico II in Napoli, and a Master’s in Management and Communication from Willingen, Germany. She holds a PhD in Architecture from the University Federico II. Maria Carmela has planned, coordinated and directed post-graduate courses AUTHORS

from Innovation to Social Design

for architects and engineers on bioclimatic and energy issues in restoration, and has led courses on restoration and recovery of existing buildings.

Maria Carmela’s work is chiefly focused on planning and managing architectural heritage with historical value, and restoration. She teaches History of Architecture and Urban Planning at the University of Perugia. She has participated in many conferences and is the author of numerous publications, books, reviews and conference proceedings papers. She has published several books on sustainability in architecture based on her research at the Federico II University of Naples. She is a currently member of the Board of Centro Studi Mastrodicasa, engaged in restoration of historic buildings.

Panos Sakkas and Foteini Setaki The New Raw Panos Sakkas and Foteini Setaki are the architects behind the award-winning firm The New Raw based in Rotterdam (Netherlands), founded in 2015 with the ambition to give new life to discarded materials through design, robots and craftsmanship. The New Raw work advocates for a sustainable use of plastic to spring a positive environmental and societal impact. New Raw projects range from experimentation with hyperlocal fabrication and decentralized production to participatory design methodologies on circular economy systems and AUTHORS

exploratory research on city, and marine plastic pollution with the development of customizable furniture and adjustable by users, to engage them in the recycling of plastics. The New Raw has been featured in international books, including “Wasted: When Trash Becomes Treasure” by Katie Treggiden and has received media coverage by Dezeen, Domus, Wired, Financial Times, Design Milk, Fortune, Mashable, Fast Company, ELLE Decoration, Architectural Digest, and De Morgen. The New Raw projects have been exhibited in exhibitions and venues, among others at the Design Museum in Moscow (RU), Caixa Forum in Barcelona (ES), Museum De Domijnen (NL), Salone Del Mobile (IT), Aikaterini Laskaridi Foundation (GR), Amsterdam Gemeente (NL), Foundation Telefonica, Madrid (ES), Onassis Cultural Center, Athens (GR), Framelab Amsterdam (NL), Gdynia Design Days (PL).

The New Raw The New Raw is a Research & Design studio based in Rotterdam (NL), founded in 2015 by the architects Panos Sakkas and Foteini Setaki.

The studio uses robotic 3D printing with recycled plastic to develop and implement circular design concepts of high aesthetic value and societal impact. The bigger vision behind each of our projects or products is to contribute to a closed material cycle for plastic, to raise public awareness, and to stimulate local production. Through the integration of design thinking, robotic production, and material research, The New Raw provides complete design and additive manufacturing solutions for a more sustainable future.

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Maria Anastasiadou and Ellie Petridi Little architecture Little Architecture is a team of architects headed by Maria Anastasiadou and Ellie Petridi based in Greece. We are interested in (re-)activating public space with small-scale site-specific interventions and we strongly believe in participation as a tool for social engagement.

Lorin Niculae Lorin Niculae has been a lecturer at the Ion Mincu University of Architecture and Urbanism (U.A.U.I.M.), Bucharest, since 1998.

He acquired a Ph.D. from the same institution in 2013 for his doctoral thesis ‘Arhipera: The Social Participatory Architecture’. He has worked in the area of social architecture since 2007, introducing the participatory design method for beneficiaries of community housing projects in communities living in extreme poverty. Currently, he is the president of the Arhipera Association, founded in 2011. He is the owner of the Archos 2002 design studio and has worked as an architect since 1994. He is Associate Professor at UAUIM since 2019. He is a founding member of the Romanian Order of Architects (ROA) and currently a member of the National Council of 146

the ROA, as well as being a founding shareholder of the Humanitas Library. Lorin is also working group leader of the COST Action ‘Writing Urban Places. New Narratives of the European City’.

Luis Rossi, Nicolas Le Roux and Paula Lemos COTA760 COTA760 is an architecture and urban design firm based in São Paulo. COTA760 is coordinated by urban planners Luis Rossi, Nicolas Le Roux and Paula Lemos. Graduates from the Faculty of Architecture and Urbanism at USP with a period of study at the Escuela Técnica Superior de Arquitectura in Madrid and at the École Nationale Supérieure d’Architecture in Lyon, they began to develop projects together and in collaboration with other firms. They received awards in the 2015 and 2016 CBCA/ALACERO Contest for architecture students for steel structures. They collaborated with the República - H+F consortium on the SESC Limeira project in 2017, and were awarded third place in a national competition. Also in 2017, as architects they won the National Contest of Ideas for Parque do Cocó, in Fortaleza, in association with the firm Base Urbana. Since then, the team has been developing new projects of their own and in partnership with other firms on various scales, with its own unique investigative and creative outlook which it continues to update in light of current developments.

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from Innovation to Social Design

Lena Beigel and Georg Sampl EOOS NEXT

Ulrike Schartner gaupenraub +/-

EOOS NEXT was founded in 2020 by EOOS as a social business to advance its social and sustainable design initiatives.

Milestones include: work in global health and sanitation for the Bill & Melinda Gates Foundation, which started as a collaboration with EAWAG for the ‘Reinvent The Toilet Challenge’ (2011to date); the invitation to exhibit the ‘Blue Diversion Toilet’ at the Venice Architecture Biennale 2014 ‘Elements of Architecture’, curated by Rem Koolhaas; ‘Social Furniture’ (2015) – a furniture design manual for a refugee camp in Vienna, commissioned by Elke Delugan-Meissl for the Austrian Pavilion at the Venice Architecture Biennale 2016 ‘Reporting from the Front’; the MAK exhibition ‘CLIMATE CHANGE! From Mass Consumption to a Sustainable Quality Society’ (2019), curated by Christoph ThunHohenstein; and the Austrian Pavilion at the Triennale di Milano 2019, curated by Marlies Wirth (MAK) and awarded the ‘Black Bee Award’ and the Wallpaper Design Award 2020 ‘Life-Enhancer of the Year’ for the LAUFEN Save! toilet.

Ulrike Schartner is an architect, graduate of the University of Applied Arts, in Vienna.

Founding partner of gaupenraub +/- in Vienna, with architect Alexander Hagner, and founding partner omniplan AB, providing architecture, project management, and general planning services in Stockholm, Sweden with Staffan Schartner and Pelle Norberg. Ulrike teaches architecture at TU Vienna, KTH Stockholm, TU Graz, NDU St. Pölten, and elsewhere. The architecture office gaupenraub +/- was founded in 1999 by Alexander Hagner and Ulrike Schartner in Vienna, was selected to exhibit for the first season of Young Viennese Architects (YoVA1).

The firm works in different areas and scales, its broad field of work ranges from construction in existing contexts to urban planning to furniture and product design. Gaupenraub +/- became known from its involvement in projects for disadvantaged people such as the VinziDorf Wien, a residential project for men with severe alcoholism, and currently VinziRast am Land, helping rehabilitation of the formerly homeless through agriculture.

Recipient of the 2020 City of Vienna Award for Architecture.

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15 Paths to Sustainabiliity:

Konstantinos Giannakopoulos Demokritos Center

Nafsica Mouti Demokritos Center

Dr. Konstantinos P. Giannakopoulos CPhys is a researcher at the Institute of Nanoscience and Nanotechnology; he is a Physicist graduating from the Aristotle University of Thessaloniki in 1995 and he also holds a Ph.D. from the University of Liverpool, graduating in 1998.

He has worked in ST Microelectronics (Advanced R&D, Crolles, France) and worked or collaborated with several European Universities. Since 2002, he has worked at NCSR Demokritos on the growth and structural characterization (especially using electron microscopy) of a large variety of nanomaterials and nanostructures, including oxides, semiconductors, metallic nanoparticles for applications in nanoelectronics (for advanced nonvolatile memories, sensors, magnetic recording media etc.). Recently he sub-coordinated an EU project aimed at providing information on advanced materials for sustainability to the European public (www.materialsfuture.eu). He has co-organized 15 National and International Conferences, and he is the co-author of 97 peer-reviewed scientific publications. He is currently the coordinator for an EU-mediated project on self-cleaning mirrors for solar energy collection.

Nafsica Mouti is a physicist, graduating from the University of Ioannina in 2019. She is currently pursuing an M.Sc. course in Microsystems & Nanostructures at the National Technical University of Athens. She also collaborates with the National Center for Scientific Research “Demokritos”. Nafsica has already gained lab experience working as part of an interdisciplinary team. She has huge enthusiasm for learning new things and she is now enjoying breaking new ground and discovering new perspectives for an eco-friendly and sustainable future. Nafsica joined the ECOWEEK team of volunteers in 2020.

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The National Center for Scientific Research ‘Demokritos’ “Demokritos” (NCSR), is the largest research center in Greece, founded in 1961. Today it has over 1000 employees and works closely with industry.

It hosts a Technology Park with 25 high-tech companies (including Tesla). Demokritos consists of 5 Institutes that cover a very wide field of basic and applied scientific research: Informatics & Telecommunications; Biosciences and Applications; Nuclear and Radiological Sciences and Technology, Energy and Safety; Nuclear and Particle Physics; and Nanoscience and Nanotechnology, which is one of the largest AUTHORS

from Innovation to Social Design

research institutes in Greece, with over 300 staff, specializing in a wide range of advanced materials, processes and devices.

Kateřina Nováková PETMAT Ing. Kateřina Novakova, Ph.D. is a researcher and lecturer at FA CTU Prague, and director of the PETMAT NGO. Katerina started her career as a teacher, and founded the Experimental Design Studio together with Prof. Henri Achten in 2010. The aim was to manufacture student projects and exhibit them in public spaces. The focus from the start was sustainability, using plastic waste, specifically PET plastic bottles. Many awareness raising public installations were designed and constructed until she patented PET(b)ric: specially designed for construction. After that, longer lasting installations were realized, such as PETOTEM, RUN CZECH, and BOOKWORLD, among others. In 2015 she founded PETMAT NGO with Šimon Prokop and they switched

to producing Czech-made 100% recycled filament for 3d printers. PETangel, Digital factory and many other projects were realized through the crowd printing method, until they were able to bring the fully functional filament to the market. The group has recently switched to using robots for 3d printing recycled polyethylene terephthalate in order to research the possibility of manufacturing bigger objects.

Anna Tsagkalou MOR Studio Anna Tsagkalou is an architect, sustainability engineer and cofounder of MOR Studio.

She graduated from National Technical University of Athens (NTUA) and continued her studies at TU Delft where she obtained an MSc in Building Technology.

Her focus lies on developing an integrated design approach, where climate and energy performancedriven design are used as integral tools for creating sustainable architecture.

IMAGE ECOWEEK 2011 closing photograph at the Chiostri dell’ Universita Statale in Milano, Italy.

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