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In the April editorial, the guest editor of Domus, traces the history of a material that is just about everywhere, from the Centre Pompidou to Star Trek.

Metal occupies a special place in my practice due to its intrinsic qualities and aesthetic “plasticity”. Despite being long considered secondary to concrete in France, it has made a name for itself in the architectural world thanks to its precision, flexibility and interaction with light. In my work, metal transcends its industrial origins to become a conceptual medium that reinvents the relationship between matter, space and perception. 

Driven by increased demand, metal and energy extraction has skyrocketed, with mining sites expanding worldwide. Large-scale operations now target lower-grade deposits, requiring large areas of land, while small-scale mining remains widespread and often unregulated. This activity has significant environmental impacts, with urgent implications for sustainability: deforestation, water pollution and massive waste. As demand for resources increases, it is critical to strike a balance between extraction and environmental protection. This map shows active mining sites around the world, revealing the deep interactions between the industry, the environment and the global economy.

Where does the metal in our buildings, bridges and batteries come from? Earth does not make new metal atoms but inherits them. The lightest metals like lithium (atomic number 3) formed in the universe’s first minutes via primordial nucleosynthesis; heavier metals like aluminium (13), titanium (22), manganese (25) and up to iron (26) are forged inside stellar furnaces through nuclear fusion; even heavier metals like cobalt (27), nickel (28) and copper (29) require the energy of exploding supernovas to finish the job.

Metals shape our built environment, but their raw forms are often unrecognisable. Before they become structural frames, facades or fine details, they exist as unrefined minerals with unexpected texture, colour and shape. Some, such as copper and iron, can be used in their pure state, while others are combined to create alloys with an entirely new set of properties. From the strength of steel to the lustre of stainless steel, these transformations define the possibilities of architecture.

Lightness and heaviness, simplicity and complexity, transparency and disappearance are the extremes inspiring the projects of Junya.Ishigami+Associates. Steel is the material used to create the unique atmospheres animating the studio’s architecture and objects.

An elegant metal envelope protects Dynafit headquarters from solar radiation, striving to ensure high energy efficiency.

Metal has been used for the building’s external cladding and interiors, creating a bright and fresh presence in the industrial heritage district.

A new rooftop aluminium pavilion extends the building’s loft space, housing a kitchen inside and a sheltered terrace outside.

The new Gambit headquarters was built using raw aluminium sheets made to resemble the pipes that the company distributes, thus achieving a dual objective: creating a showcase for its business and minimising the budget. 

The Laoyuting Pavilion, built with a prefabricated steel structure assembled on-site, invites us to reconsider the relationship between technology and nature. 

The weathered steel of the Luther George Park Performance Pavilion embraces the natural and human elements it is exposed to, from the ferrous soil to the touch of visitors.

The making of the Tornado – the stainless steel centrepiece we designed for the Fenix, the world’s first art museum about migration due to open on 16 May 2025 in Rotterdam – tells a complex story of materials, engineering and geopolitics. The sinuous form of its reflective metal surface, which rises 30 metres within the restored warehouse built in 1923, symbolises movement, transformation and resilience. It was fabricated with Ukrainian steel in Belgium, where large structural units were assembled and shipped by boat to reduce on-site work. Its ascent aligns with the former Holland America Line headquarters, where millions of migrants arrived and departed, while the view towards the ocean connects past and future journeys. The Tornado’s design and precision embody the forces shaping architecture, migration and history. 

Freed from the walls, the kitchen elements designed by the German studio become unique objects in space with unexpected integration. Metal works in the sense of programme.

The Belgian duo works with various types of metal, preferring to leave them untreated to showcase their distinctive characters and authenticity. 

In the Belgian artist’s works, metal is a language for telling stories, where weight, texture and light interact and the material feels alive.