Spotted: The UN Convention to Combat Desertification’s latest report calls global drought resilience “a necessity.” Given that in the three years between 2016 and 2018, 70 per cent of cereal crops in the Mediterranean were damaged, and droughts continue to grow in severity and length, the outlook is challenging for the world’s agriculture systems.
Rising sea levels are affecting the quality of the water that is available to farmers, which, when combined with the stress of high heat, severely impacts crop yields. Heat and salty soil are two of the main stressors for a variety of plants, many of which are crucial parts of the global diet. Seeking ways to increase growing resilience without using toxins and chemical treatments, agritech startup SaliCrop has created a method that uses a seed’s natural response to stressors to make it possible to grow crops in arid, salty soil.
The company uses a combination of organic and physiological compounds to mimic environmental stressors. That then boosts a seed’s natural biochemical reactions and strengthens the plant’s ability to survive in more arid conditions. The treatments also increase the size of the fruits and vegetables grown and improve the plants’ resilience to pests.
SaliCrop is working with commercial growers of alfalfa, onion, and tomatoes, and their crop yields have increased between 16 and 40 per cent. In Europe, Africa, and India, the company is completing field trials with crops that include rice, wheat, corn, peppers, and broccoli and is seeing yields increase by between 7 and 15 per cent. Those results are particularly important in light of various climate projections that predict decreases in wheat yields of up to six per cent due to increased severity of weather events and overall conditions.
Improving the health of degraded soil is an essential aspect of reducing the carbon emissions from agriculture. Innovations in Springwise’s library helping make that change include using sound to enhance soil microbe growth and using microalgae to make desert soil arable.
Swiss furniture brand Vitra will prioritise reducing the environmental impact of its existing lines through material innovation, CEO Nora Fehlbaum tells Dezeen in this interview.
One of the industry’s best known and most influential manufacturers, Vitra‘s collections include iconic pieces such as Eames plastic shell chairs and Panton chairs.
Like its peers, the brand is under increasing pressure to reduce the ecological footprint of its operations in the face of worsening climate change.
Nora Fehlbaum spoke to Dezeen at the Vitra Campus in Weil Am Rhein
Speaking to Dezeen at the Vitra Campus in Weil Am Rhein, Germany, Fehlbaum suggested that the company’s heritage as a high-end, design-focused furniture brand is inherently aligned with sustainability.
“Vitra’s greatest contribution to sustainability is its products with an above-average service life, which omit everything superfluous,” she told Dezeen.
“Our roots in modern design would allow nothing else.”
However, she claimed Vitra is “doing everything we can with all the means we have” to become more sustainable.
The Álvaro Siza-designed Factory at the Vitra Campus has been partially converted to accommodate a new Vitra Circle store (also top)
“Everybody at Vitra has understood our environmental mission,” she said. “We don’t have a sustainability officer – everybody has taken it as their own.”
Vitra’s stated goal is to be “a net-positive company based on all the indicators of its ecological footprint by 2030”.
It has a long way to go, with the company’s most recent sustainability report published in 2022 stating that its total emissions for the year were equivalent to nearly 141,000 tonnes of CO2.
Eames shell chairs now made from recycled plastic
The brand’s sustainability strategy is chiefly focused on its popular existing products, Fehlbaum said.
“We have the biggest impact if we change the products that we sell the most of already, rather than inventing one single sustainable product,” she argued.
“At Vitra, a product is never final, but continues to evolve.”
The Vitra Circle store refurbishes and sells second hand Vitra products
As of January this year, the shells of the Eames plastic chairs manufactured by Vitra are now made exclusively from recycled post-consumer plastic.
“[The Eames shell chair] is probably the most iconic, most copied chair out there – and it won’t be available in virgin material,” said Fehlbaum.
The switch means the shells have a speckled finish that differs from the originals, but Fehlbaum is satisfied with this “recycled aesthetic”.
“It’s a different aesthetic, and of course we hope the consumer gets used to – and maybe even comes to love – this new aesthetic,” she said.
“That’s a risk that we’re taking and that we’re willing to take.”
The RE plastic shells are noticeably more speckled (on the right) than the original plastic shell (on the left)
It follows earlier switches of products and parts from virgin to recycled plastic, starting with Barber Osgerby’s Tip Ton chair in 2020.
A number of accessories like Arik Levy’s Toolbox and Konstantin Grcic’s Locker Box have since followed. The entire HAL chair family, designed by Jasper Morrison, now also have their shells manufactured using recycled plastic.
The recycled plastic is taken from household recycling obtained through the German garbage collection programme Gelber Sack (Yellow Bag).
“Utilising this raw material instead of petroleum-based primary plastics generates fewer climate-damaging emissions and less primary energy consumption,” Fehlbaum claimed.
The role of recycling in solving the world’s plastic pollution crisis is contested among designers.
Some, including designer Richard Hutten and Belgian curator Jan Boelen, argue that big brands are using recycling to create an illusion of change while continuing to use virgin plastics.
Others, among them the CEO of the Ellen MacArthur Foundation Andrew Morlet, argue that durable, recyclable plastics can form part of a circular economy.
Many recycled plastic products involve the use of some virgin plastic or additive substances that then complicate or inhibit their own recyclability.
Vitra said its RE product, used for the Eames shells, does not contain any virgin plastic and can be fully recycled at the end of the product’s life thanks to the use of technical fillers, like glass fibres, rather than any additives that prevent onwards recycling.
Vitra products are available to purchase at discounted rates at the new Circle Store
Another sustainability initiative is Vitra’s Circle Stores, which sell used furniture and accessories by Vitra and Artek, such as sample products and exhibition pieces, with prices depending on the condition of the products.
All products are tested for functionality and repaired if necessary so that a renewed product warranty can be granted.
The first Circle Store opened in Amsterdam in 2017 in response to questions from customers about second-hand Vitra products, with a second in Brussels.
A third recently “moved” from Frankfurt and opened in an adapted space at the Álvaro Siza-designed Vitra Campus factory building, with a service and repair area where customers can bring their products to receive a new lease of life.
“With the Circle Store, we can offer our environmentally conscious clients an even more environmentally conscious choice: namely that of a second-hand product,” said Fehlbaum.
Absence in Milan “really wasn’t such a huge deal”
The brand has also taken steps to rewild parts of the Vitra Campus. The Piet Oudolf garden was completed in 2020 and Vitra is working with Belgian landscape architect Bas Smets on a masterplan plan for fewer roads and more native trees on the site.
Fehlbaum acknowledges that some may be sceptical about the sustainability work it is doing within the context of widespread greenwashing.
“It’s impossible to get through this jungle of messaging,” she said.
“How do we talk about it to make sure that it is clear how thoroughly and authentically we’re really tackling this?”
Some other furniture brands have also reduced their presence at design fairs amid concerns about the significant emissions associated with shipping products around the world for temporary showstands.
Vitra has historically had a significant presence in Milan during the Italian city’s annual design week in April, but was noticeably absent in 2023.
However, Fehlbaum said that although she was asked about this a lot “it really wasn’t such a huge deal”.
“For us, it makes a lot of sense to use what we already have,” she said.
“We have the Vitra Campus and it’s not so far from Milan. We prefer to use and invest in something that can be around for five or 10 years rather than spending a lot of energy and resources on something that after five days we’re going to have to break down.”
It is yet to be seen if the brand will return to Milan design week this year.
“The way we think about it [showing at design fairs like Milan] is never black or white,” Fehlbaum explained.
“There might be a moment where we say Milan is exactly the right place at the right moment to talk about something, and then maybe we’ll be there.”
The Eames Plastic Chair RE was photographed at the Eames house, Pacific Palisades, California. Photo by the Eames Foundation
Vitra was founded in 1950 by Nora Fehlbaum’s grandparents Willi and Erika Fehlbaum and has since grown to become one of the industry’s leading names.
Nora Fehlbaum succeeded her uncle, Rolf Fehlbaum, as CEO in 2016 and identifies improving the brand’s sustainability as her key mission.
“There is still a long way to go before reaching our environmental goals,” she acknowledged. “Things need to be tested, mistakes must be made, and in the process the company might sometimes overlook an important aspect or underestimate the impact of an activity.”
This is now a central part of the brand’s function as an industry leader, Fehlbaum suggests.
“The designer landscape has changed. In the past, it was a lot about iconic design and breaking the mould, building your own brand and your studio – new things – and now, the students that are graduating come with their own environmental mission,” she said.
“I see our role, together with these people and with the right suppliers and innovative companies, to find solutions that are, for lack of a better term, sustainable in the longer term.”
Other interviews recently published on Dezeen include the Kvadrat CEO saying sustainability is “not making our lives easier” and Iittala creative director Janni Vepsäläinen sharing her goal to help the brand “remain culturally relevant for another 100 years”.
The photography is courtesy of Vitra unless otherwise stated.
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In-home greywater recycling systems offer significant advantages to certain homes and businesses. However, due to the involved installation process, storage requirements, and extended payback period, distributed greywater treatment has been slow to take hold. Centralized public greywater treatment systems still involve several carbon-intensive transportation and treatment processes.
The founders of RainStick Shower have created a point-of-use (POU) water treatment technology to combat water scarcity. The first-of-its-kind, recirculating shower in North America, RainStick offers a self-contained, sustainable alternative to traditional showers that waste water by constantly sending it down the drain. Employing a closed-loop system captures, treats, and recirculates shower water, minimizing waste and maximizing efficiency.
How RainStick works
The innovative POU loop features three distinct cleaning stages to ensure the water remains suitable and safe for reuse:
A micron-level screen traps debris, such as hair and dirt, preventing them from circulating in the water.
Precisely controlled, fresh hot water is continuously introduced, maintaining the desired water temperature and pressure.
RainStick disinfects the recirculating water, using high-intensity UV LED technology. This eliminates harmful bacteria and viruses, delivering purified water.
RainStick can reduce water consumption by up to 80% compared to conventional showers, with no compromise on the quality of the shower experience. According to a study conducted by the US EPA, the average American uses 82 gallons of water per day. By adopting water-saving technologies like RainStick on a larger scale, we can collectively minimize the strain on freshwater resources and reduce the energy footprint of water use in our homes.
Ice cubes – The question we were asked was that of the spirit of a place. The client imagined a flat building, we proposed a tower: to conquer the sky, mark the territory and put the whole commercial district in tension with the future ski slope on the other side. In this commercial environment, our cultural center says “I am here!“. You can see it everywhere, day and night. The city is conceived from landmarks and vanishing points.
Architizer chatted with Mathieu Forest, Founder of Mathieu Forest Architecte, and Qiang Zou, Design Principal at Zone of Utopia, to learn more about this project.
Architizer: What inspired the initial concept for your design?
We are starting from a virgin site with only fields and sky as the landscape. We wanted a building that captures the “thickness of the air”, the only tangible context, which by its material and its form is anchored in the sky: the gray and misty skies, the sunbeams which pierce it, the snowy skies, the steely blue skies so characteristic of northern China, the skies overwhelming with light in summer, the golden evening horizons, the bluish mornings… our building continually changes its appearance with the rhythm of the seasons, the variations of the climate and hours, and like a mirror reveals the beauty of a changing sky and landscape. Its facades are a gigantic glass printed fresco according to a unique design, without any repetition. It is also an echo of the representations of landscapes in Chinese painting, whose mystery arises from the immensity and detail.
This project won in the 10th Annual A+Awards! What do you believe are the standout components that made your project win?
It is a poetic architecture, for which the technique, as advanced as it is, is at the service of emotion. We think that we must refuse generic, cloned, sanitized, standardized architectures, such as the current world produces too much. We must rediscover the sense of geography and context and never forget that the only goal to be achieved is that of the pleasure of living. As urban art, architecture must address everyone. We are looking for several degrees of mystery: we can see in this architecture the evocation of a mass of ice floating on a lake or that of a lantern and marvel at it, but going deeper, there is a more impressionist vision of capturing the effects of light, with a certain form of abstraction and constant renewal.
What was the greatest design challenge you faced during the project, and how did you navigate it?
The greatest challenge was the realization of the facade supposed to evoke a form of immateriality. Many prototypes had to be made to properly adjust the quality and color of the glass, the density and the color of the printed patterns. It was also necessary to work closely with the engineers to design the most absent structures possible. The nicest compliment we often get is that people think when they see the photos that they are perspectives when the building is well constructed!
How did the context of your project — environmental, social or cultural — influence your design?
We started from an almost virgin site, the most difficult situation for a contextual architect. There was only a master plan and a bird’s eye view of a future residential area organized along the lake, headed by a tourist area and shops and, as a highlight, a future artificial ski slope to attract future residents and tourists. This district of 10,000 housing units will accommodate approximately 30,000 inhabitants and will be part of the future new town of Pinyuan which will accommodate a total of 500,000 inhabitants.
We took advantage of the incredible dynamism of Chinese industry: in the glass sector in particular. Large samples manufactured in record time allowed us to develop the exact colors and ink densities desired, with exceptional thermal performance.
What drove the selection of materials used in the project?
It is a steel and glass building. Steel is adapted to an architecture of lightness and audacity, but also to allow prefabrication and great speed of implementation. We used glass for its advantages while avoiding its disadvantages, taking into account the continental climate, with cold and dry winters and hot and rainy summers. We have designed a waterproof double skin with controlled ventilation: in winter, the double skin is closed and the greenhouse effect makes it possible to avoid almost any heating. In summer, the air cooled by evaporation at the water surface is collected and circulates in the double skin to evacuate heat accumulations and cool the thermal facade and therefore reduce air conditioning needs.
What is your favorite detail in the project and why?
We want the structure to disappear so that only the effects remain. The details of the suspended facade were the most sensitive to develop, in the common parts as much as for the details of angles, overhangs and transition between volumes. We worked with our facade engineer on minimalist principles. Each glass of the double skin is only held by 4 pieces of steel of a few centimeters and a simple bead of transparent silicone ensures the seal.
How important was sustainability as a design criteria as you worked on this project?
This question is of course a major one at the present time. This is why we have designed a double-skin façade which considerably reduces energy requirements. In winter, there is no need to heat the building. Dynamic thermal studies have shown that our design saves 50% energy compared to a traditional double-glazed facade. After a few years, the investment in the double glass skin is fully compensated and after 50 years, the gain is considerable.
In what ways did you collaborate with others, and were there any team members or skills that were essential in bringing this Award winning project to life?
We collaborated very efficiently, mainly through video conferences. The engineers for the structure and the facade were particularly called upon to be able to build the project and in general, all the actors worked very intensely with the will to be able to achieve this result.
How have your clients responded to the finished project?
The client is extremely satisfied with the project and its numerous publications. More generally, all the feedback tells us that the building is very well received by visitors and users.
How do you believe this project represents you or your firm as a whole?
It is a contextual project, even if the urban context was almost non-existent. It exactly answers a question asked by a program and a site. In this, it represents our architectural philosophy well.
How has being the recipient of an A+Award evoked positive responses from others?
It is a great honor for us to receive such a distinction. Especially because we are a young architecture firm and that encourages us enormously to continue our work. This also contributes to our positive image for clients and our partners. It is very important for us.
Is there anything else important you’d like to share about this project?
The project was designed and carried out during the COVID, in a very short time. There were 20 months between sketch and delivery. Challenge increased by the pandemic which banned travel and stopped the construction site for 4 months. We had to invent, like others, new methods. We worked and checked the site from photos and videos. We had daily video meetings. Paradoxically, the COVID has reinforced the good coordination between all.
For more on Ice cubes, please visit the in-depth project page on Architizer.
Rain Harvest Home – is located within Reserva el Peñón, a landscape-driven development which has achieved water self-sufficiency for a community of 80 families in 450 acres of a nature reserve, two hours from Mexico City. The Reserve framed our thinking around sustainability generally, and rainwater harvesting specifically. It pushed us to think at a larger level where the whole Reserve became the site, and the home was one piece of that. We also thought about how we could explore the larger issues of water conservation in Mexico, with this being an example of how to harvest rainwater on a small scale that could then apply to other projects. That became a driver in a powerful way. It was an idea that evolved over the course of the design process, and as the client became increasingly interested in cultivating a healthy, holistic lifestyle where they could live in harmony with the land.
Architizer chatted with Robert Hutchison from Robert Hutchison Architecture, and Javier Sanchez from JSa Arquitectura, to learn more about this project.
Architizer: What inspired the initial concept for your design?
Robert Hutchison & Javier Sanchez: The brief was simple: the clients wanted a small cabin to enjoy the mountainous site. Valle de Bravo has a dry season and a rainy season, and the sun plays a trick every day in both of those seasons. You can enjoy the sun, but you have to be careful with it. Here, you need to have spaces that are open and covered; enclosed and covered; and outside and uncovered. You need all three qualities, so we needed to make that happen within the three structures.
At the start, the project had a simple, classic program: 2 bedrooms, a bathroom, and a kitchen. When we were on site, we started developing the idea of splitting up the program into separate buildings. It started with wanting to separate the function of bathing, which led to the idea of the bathhouse. And then the separate studio emerged from that.
This project won in the 10th Annual A+Awards! What do you believe are the standout components that made your project win?
Rain Harvest Home offers a model for designing regeneratively with water. The home is 100% water autonomous and, in times of surplus, it is water positive and feeds excess water back into the community’s larger reservoir system. Not only does the design help restore the microclimate of the site, but it stands as a testament to the potential of rainwater harvesting for off-grid, self-contained water systems that eliminate reliance on municipal water sources. At the same time, the element of water contributes to the overall spatial and experiential quality of the project, reconnecting people with their environment by engaging the senses. More than any other element, conserving and improving the quality of water as a precious resource has the potential to dramatically improve the health and sustainability of built environments in Mexico, and beyond.
What was the greatest design challenge you faced during the project, and how did you navigate it?
Integrating the rainwater system was an initial design challenge, and continues to be an everyday challenge. Now, the rain harvesting system and on-site reservoir are a learning laboratory where the clients are continually learning about how the system performs. Understanding that the water and food systems on site are part of a living process that fluctuates depending on changing natural conditions, the client continues to experiment in ways to optimize the system through seasonal calibrations and refinements. Nothing is as objective as science would make it seem because things are always changing over time depending on how much it rains, and when. The house has to live with that, and it’s a constant learning experience for us as designers. It’s about integrating design into the cycle of water and of life.
How did the context of your project — environmental, social or cultural — influence your design?
The site is relatively flat, but sits within a mountainous environment. All around are cliffs and steep slopes, but our site rests in a small plateau vegetated with continuous, single-story-high shrubs and brush. Because of these site conditions, we wanted to make the buildings disappear within the vegetation. This is why we designed a series of three low pavilions that nestle into the landscape and are dispersed across the site. We wanted a strong connection between each building and the landscape. Often as architects, we think about how spaces are created between buildings, but this was about letting the landscape be that interstitial space. The landscape becomes the connection between the buildings, just as it delineates the spaces between them. When you move through the site, there’s an experience of the buildings constantly disappearing and reappearing. It’s a process of discovery.
How important was sustainability as a design criteria as you worked on this project?
Within La Reserva, each home is required to incorporate rain harvesting, with most of it coming from the individual home’s rainwater harvesting system and a small portion coming from the reserve’s reservoirs. We wanted to try and raise the bar and see if we could harvest 100% of our water from our individual site, rather than depend on external sources. This was important because there is a major water shortage in Mexico City, which is absurd because it rains a lot, but we don’t harvest that rainwater. Instead, we pump water in and out from the valley. As designers, we need to talk about those issues within our designs and experiment with new possibilities. Sometimes when you have a built example, it’s easier to understand new possibilities, particularly around rainwater harvesting.
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Modular construction isn’t a new concept in architecture; however, it wasn’t until the 20th century that the concept began gaining traction: pre-fabricate parts of buildings in factories how we build car parts and then assemble them onsite as if they were human-sized Lego bricks. Even still, until recently the term ‘modular construction’ brought to mind clunky concrete boxes and repetitive housing blocks.
Yet, now, as manufacturing technology in the architecture sector continues advancing and the environmental cost of construction is being evaluated more critically, modular design is becoming an increasingly attractive approach for architects and contractors. In fact, AMA Research reported that modular construction is set to grow by 14% between 2020 and 2024, and its seemingly limitless possibilities portend even greater growth for years to come. We’ve only scratched the surface of what is proving to be one of the most promising research fields in architectural design.
By shifting construction towards a manufacturing-style process, the modular design presents a host of unique advantages. The fabrication of materials inside the strictly controlled setting of a factory reduces the number of uncontrollable variables that might have otherwise caused delays or cost overruns. All the pre-fabrication work also means that the assembly phase itself is as streamlined as possible: the bulk of the work consists in stacking and bolting together the components of the building, reducing the inconveniences of construction — waste, noise and pollution from heavy-duty machinery — to a minimum.
Take for instance B100arcquitectos’ Science of Rehabilitation Faculty building at Don Bosco University in Soyapango, El Salvador. The project by the A+Award finalist firm offers us a glimpse of what the future of architecture might look like thanks to modular construction.
Annex Building Science of Rehabilitation Faculty Don Bosco University by B100arquitectos, Soyapango, El Salvador
The impact is apparent in the most striking feature of the building: the large, beautiful trees stooping over and surrounding the campus building, as if they had been purposely planted around it decades ago (and not the other way around!). This impressive architectural feat could only have been possible thanks to the flexibility of modular construction; the pre-fabricated cubic modules only had to be moved into place rather than built from the ground up. And though that presented its own logistical challenges, it spared the sacrifice of many trees, leaving over over 80% of the lot’s forestry untouched. The old trees now form an integral part of the architectural experience and give a sense of maturity to the building far beyond its one-year-old existence.
Aside from the aesthetic advantages, the modular construction was completed quickly and with little material waste. This allowed the firm to work on a tighter budget — the whole project ringing in at under a million dollars — allowing the University to invest more on what’s inside the classroom rather than on the classrooms themselves.
Are you interested in joining one of the most promising fields in architecture? Consider applying to a firm that specializes in modular construction.
Volumetric Building Companies (VBC) is a global leader in volumetric modular construction headquartered in Philadelphia, PA with locations across the United States and in Europe. The firm uses its precision-driven manufacturing capabilities and project-proven expertise to provide high quality, sustainably produced modular-designed buildings in less time across varied market sectors. VBC is currently looking to hire a Design Technology Manager, a Senior Project Designer / Senior Project Architect and a Senior Design Associate for their Somerville, MA offices.
Browse the Architizer Jobs Board and apply for architecture and design positions at some of the world’s best firms. Click here to sign up for our Jobs Newsletter.
Before the current scientific consensus on man-made climate change emerged, many climatologists believed that any extra carbon dioxide released by human activities would be absorbed by the world’s oceans. This proved to be a sticking point in the mainstream acceptance of the greenhouse effect, and it wasn’t until the late 1950s that researchers demonstrated that seawater will not absorb all of the extra carbon dioxide being released into the atmosphere.
Oceans have been at the centre of climate science because an estimated 83 per cent of the global carbon cycle is circulated through marine waters. Man-made global warming is, in essence, the short-circuiting of this cycle, so understanding and respecting the oceans—the biggest part of the cycle—is crucial for mitigating the damage we have done.
Although we now know that oceans will not absorb all of our carbon emissions, they have absorbed around a third of the CO2 produced by humans. Moreover, the ocean is home to resources that are extremely useful in the fight against climate change. Seagrass meadows sequester carbon up to 35 times faster than tropical rainforests, and seaweed is used in a wide range of sustainable innovations. In short, when it comes to climate change, oceans are our best friend.
But oceans are also vulnerable to the effects of climate change. Marine eco-systems are sensitive to climate shocks, with coral cover declining by over half since the 1950s. Human activities also impact oceans in other ways. Oceans are the cradle of life, making up 95 per cent of the space available to living things, yet research shows that marine biodiversity is declining dangerously, with humans the biggest cause. And each year 8 million tonnes of plastic waste escape into the sea.
Given the importance of oceans to our shared future, many innovators are looking to the ocean for inspiration. And some of the most exciting ocean innovators will be at this year’s ChangeNOW summit in Paris.
According to research, 60 per cent of chemical leaks, oil spill-offs, and micro-plastics end up on the sea floor. These pollutants damage the environment, but so too do traditional clean-up methods, which rely on excavations and harmful chemicals. Latvia’s PurOceans Technology believes there is a better way.
The company has developed a proprietary process called ‘deepwater rehabilitation’. During this process, bubbles of ambient air are piped to the lowest depths, where they stick to chemical pollutants before floating back to the surface. Once at the surface, the toxic waste can be safely collected and processed into purified water. PurOcean’s approach avoids the damage to flora and fauna that accompanies excavation and chemical-based approaches, improving the health of the entire marine eco-system. And as a further bonus, the process enriches the water with added oxygen.
A WEST AFRICAN WATER COMPANY TACKLES PLASTIC WASTE FROM BOTTLED WATER
Single-use plastic water bottles are both common and expensive in West Africa. And much of the waste plastic ends up cluttering the streets, going to land fill, or polluting the oceans. Addressing this issue is Senegal-based water company MIYA.
Miya provides 11- and 19-litre water bottles that can be re-used under a deposit scheme where customers return the bottles for refills. In addition to preventing plastic from littering beaches and harming marine life, the MIYA scheme has several additional benefits. Drinking water in the company’s native Senegal is not always safe, yet bottled water is expensive. Many people therefore face an unfortunate trade-off between hygiene and cost. MIYA’s water is more affordable with customers paying $2.08 for a 19-litre bottle compared to the average price of $1.73 for 10 litres.
A WASTEWATER TREATMENT PLANT THAT PRODUCES MORE ENERGY THAN IT CONSUMES
Globally, around 80 per cent of sewage is dumped into the ocean untreated. And all this pollution from wastewater damages marine eco-systems in a number of ways. At the same time, current wastewater treatment technologies are energy-intensive and cause one per cent of greenhouse gas emissions in France.
NXO-Engineering takes a revolutionary approach to wastewater, seeing it as a repository of resources rather than something to be treated. The startup’s proprietary NxSTEP process uses micro-algae and bacteria to convert the wastewater into biomethane that can be used as a source of energy. As a result, the process is not only less energy-intensive than traditional methods, it actually produces more energy than it uses. The company has also developed a flotation unit that separates biomass from water, leaving the water fit for human consumption – a process that can reduce the cost of drinking water.
Photo source Airseas
A SEA KITE THAT HELPS SHIPS SAVE FUEL UNDERGOES TRIALS
Maritime shipping accounts for at least 2.5 per cent of global CO2 emissions. However, this is considered by many to be a gross underestimate of the environmental damage done by container shipping. One study found that, in 2009, a single large container ship emitted almost the same amount of cancer and asthma-causing chemicals as 50 million cars.
French company Airseas has developed a parafoil sail—known as the Seawing—that is designed to be installed on cargo ships to reduce fuel consumption and shipping emissions. The Seawing is designed to deploy automatically, rising up above the ship’s deck on a long cable to grab the steady, strong winds 200 metres above sea level. An automated system monitors and controls the Seawing. The system also monitors forward wind conditions and re-routes the ship to take the most efficient path possible without affecting arrival time.
Airseas is not the only company harnessing the wind to reduce shipping emissions. Rather than using a kite-like parafoil, another French company, AYRO, has developed wingsails—called ‘Oceanwings’—that rise vertically from the deck of a ship.
Oceanwings are compatible with most types of vessel, and can be retrofitted onto existing ships or incorporated into new-build designs. Moreover, operating the Oceanwings does not require the specialist skills traditionally associated with sailing, and the wingsails are safe to use in any weather condition. Sensors on the wingsails measure the wind, generating data that is analysed to adjust the angle and camber of the Oceanwings for maximum effectiveness.
USING DNA TO MAKE ENVIRONMENTAL SURVEYS EASIER AND CHEAPER
Environmental monitoring is key for environmental protection strategies. Monitoring data helps policymakers set priorities and activities. At the same time, businesses are faced with a growing need to report on biodiversity, yet monitoring has traditionally been costly and difficult to perform at scale. For biodiversity startup NatureMetrics, the answer is in environmental DNA (eDNA) – DNA that is released from organisms into the environment through faeces, urine, slime, scales, and other forms.
NatureMetrics carries out tests in a facility purpose-built for metabarcoding – a method of DNA sequencing that can identify multiple species in a single sample. The system can process more than 100 samples in parallel, reducing sequencing costs and time. The company’s marine division provides powerful data on ocean biodiversity, working on projects such as nature-based solutions in coral reef, mangrove, kelp, and seagrass habitats, and conservation monitoring in marine protected areas.
Springwise is a proud partner of ChangeNow, which takes place in Paris 19-21 May 2022. As the world’s largest event for the planet, the three-day international summit brings together entrepreneurs, business leaders and policymakers to accelerate change. To find out more and book your tickets, visit changenow.world.
