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In 2002 the Canadian Centre for Architecture (CCA), organized an exhibition called Herzog & de Meuron: Archaeology of the Mind 1 , where the architects presented a display of their archive, a collection of their models and material research, as a compilation of their interests but also of their intuitions, references and obsessions. The catalogue of this event, turned into a book, Natural History 2 , where the pictures of their models were intersected with several texts from various authors, mainly artists, creating a written evidence of their personal imaginary as practitioners.Among those texts, there is a brief article entitled Just Waste, in which the Swiss architects recall the objects exhibited as pure waste as immaterial entities whose life span ended while not being used for any other purposes. These objects are not artworks, and their will behind the act of showing them properly catalogued was just considering them as triggers. "A physical accumulation of the documents that we have produced in order to initiate and accelerate mental processes or, on the contrary, to arrest and propel them in another direction". 3 Zero Waste project is in debt with this intellectual positioning of Herzog & de Meuron. Grupo4! unit spent a semester working with matter, understanding its properties while building objects as a collective. Possible projects that always evolved from the previous step, changing the hands that worked with them. The aim was to elevate the built model, from a "freezed" element to be interpreted, to a living element to be transformed, both physically and intellectually.Circularity can be recognized in the 2002 exhibition, latent in the act of cataloguing their archive and making it open to the public. The main goal of our research project was to apply a circular process of design where the authorship was diluted in favour of a common construction where ideas and matter were constantly evolved.This publication is deliberately based on the graphic design used by Lars Müller Publishers, as a small tribute to the original catalogue, and 20 years after the exhibition. Brief texts, developed by the group of professors and teaching assistants, are complemented with several pictures of the objects produced at the different phases of the research project, and a detailed description of the teaching experience.

7 V JORNADAS SOBRE INNOVACIÓN DOCENTE EN ARQUITECTURAOrganiza e impulsa GILDA (Grupo para la Innovación y Logística Docente en la Arquitectura), en el marco del proyecto RIMA (Investigación e Innovación en Metodologías de Aprendizaje), de la Universitat Politècnica de Catalunya · BarcelonaTech (UPC) y el Institut de Ciències de l'Educació (ICE). https://www.upc.edu/rima/ca/grups/gilda EditoresDaniel García-Escudero, Berta Bardí i Milà Revisión de textos

In 2002 the Canadian Centre for Architecture (CCA), organized an exhibition called Herzog & de Meuron: Archaeology of the Mind 1 , where the architects presented a display of their archive, a collection of their models and material research, as a compilation of their interests but also of their intuitions, references and obsessions. The catalogue of this event, turned into a book, Natural History 2 , where the pictures of their models were intersected with several texts from various authors, mainly artists, creating a written evidence of their personal imaginary as practitioners.Among those texts, there is a brief article entitled Just Waste, in which the Swiss architects recall the objects exhibited as pure waste as immaterial entities whose life span ended while not being used for any other purposes. These objects are not artworks, and their will behind the act of showing them properly catalogued was just considering them as triggers. "A physical accumulation of the documents that we have produced in order to initiate and accelerate mental processes or, on the contrary, to arrest and propel them in another direction". 3 Zero Waste project is in debt with this intellectual positioning of Herzog & de Meuron. Grupo4! unit spent a semester working with matter, understanding its properties while building objects as a collective. Possible projects that always evolved from the previous step, changing the hands that worked with them. The aim was to elevate the built model, from a "freezed" element to be interpreted, to a living element to be transformed, both physically and intellectually.Circularity can be recognized in the 2002 exhibition, latent in the act of cataloguing their archive and making it open to the public. The main goal of our research project was to apply a circular process of design where the authorship was diluted in favour of a common construction where ideas and matter were constantly evolved.This publication is deliberately based on the graphic design used by Lars Müller Publishers, as a small tribute to the original catalogue, and 20 years after the exhibition. Brief texts, developed by the group of professors and teaching assistants, are complemented with several pictures of the objects produced at the different phases of the research project, and a detailed description of the teaching experience.