Abstract
Nowadays, the rehabilitation of quarries is a widespread practice. It stems from the most significant environmental concern in the management of non-renewable resources. However, reusing quarry waste in the process of regeneration represents the aspect less prevalent. This procedure results from the non-commercialized material, accumulated in huge piles of waste, that constitute invasive elements of the landscape. Because of the intense industrial activity, the wastes further contribute to the degradation of the sites. The result of the waste abandonment could be reversed if this discarded material is considered as a product in the landscape requalification process. Mixing theoretical concepts with practical examples, this article proposes an application methodology to reuse the waste material in the landscape and architectural domains. This new contribution highlights the importance of considering scrap accumulations as an integral part of the architectural project, filling the existing gap in both architectural and theoretical domains. There is not any similar schematization in the literature and the idea of dealing with the mounds of wastes has been only slightly approached until now. The reached outcomes are demonstrative of the possibility of working with the waste heaps in architecture, creating a solid basis for further investigations not documented yet.
Highlights
In 1913, the artist Marcel Duchamp presented to the public his first ready-made, “Roue de bicyclette.”
The term refers to an everyday object that arises to a piece of art thanks to the ability of the artist of removing its original use, by exalting it through an operation of choice, casual individuation, or isolation
After discussing the theory of waste and circular economy, this paper provides a critical survey about some practical examples of reuse, applied to the dumped material in the landscape and architectural fields
Summary
In 1913, the artist Marcel Duchamp presented to the public his first ready-made, “Roue de bicyclette.” The term refers to an everyday object that arises to a piece of art thanks to the ability of the artist of removing its original use, by exalting it through an operation of choice, casual individuation, or isolation. His bicycle reversed wheel, inserted above a stool, and deprived of its tire, represented a self-sufficient work. The wheel, decontextualized from its frame, acquired a new meaning and it became, from an everyday object, an artistic unicum. This change of destination of use introduced an innovative notion of art since it promoted values scarcely verified until that moment. Thanks to the conception of the ready-made, the selection prevailed over the invention, and beauty corresponded to the essence of an object, undermining the concept of form For this reason, in the 20th century, the poetic of transformation followed that of creation in the artistic sector [1]
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