Buildings “biggest lever” for improving global resource efficiency says UN
CategoriesSustainable News

Buildings “biggest lever” for improving global resource efficiency says UN

The built environment is the fastest-growing consumer of materials in the world – but it also offers the most potential for improvement according to Julia Okatz, advisor on the UN’s landmark Global Resource Outlook.

Making buildings and neighbourhoods more efficient could reduce the global need for raw materials by 25 per cent by 2060, the International Resource Panel (IRP) report found, while slashing energy demand and emissions by 30 per cent.

“Built environment patterns are the single most important determiner of a country’s emissions,” Okatz told Dezeen.

“[Firstly] because of its direct impacts, because of heating and all the climate impacts embodied in materials, but also because of its impact on people’s behaviour,” she continued.

“The built environment isn’t just concrete use, it has all these other implications on energy use, so it is probably the biggest lever overall.”

Graphic from IRP's GRO24 report showing global material extraction, four main material categories, 1970 – 2024, million tonnesGraphic from IRP's GRO24 report showing global material extraction, four main material categories, 1970 – 2024, million tonnes
Above: IRP report shows resource use has skyrocketed since 1970. Top image: De Sijs housing in Belgium offers an example of more resource-efficient design

The need for carefully considered buildings that reduce resource use while maintaining or even improving inhabitants’ quality of life presents an exciting opportunity for architects to take more control of the planning process, Okatz argues,

“I think architects would be one of the major benefitting industries in this scenario,” she said.

“We need less mass deployment of inefficient options and much more architectural design. So I think for architects, it’s actually a growth agenda.”

Resource use tripled in the last 50 years

Launched during the sixth session of the UN Environment Assembly this month, the 2024 Global Resource Outlook is the IRP‘s latest review of the world’s resource use since the last edition of the report was published in 2019.

Our “insatiable use of resources” has tripled over the last 50 years, the latest report found, and is now responsible for over 55 per cent of global emissions and 40 per cent of air pollution impacts, making it the “main driver” of the planetary crisis.

While environmental impacts are escalating, the economic and wellbeing benefits brought by our increasing use of the Earth’s resources have stagnated – and in some cases even declined

Left unchecked, material extraction looks set to rise by a further 60 per cent by 2060, compounding these negative impacts.

FoamWork formwork for concrete slabs by ETH ZurichFoamWork formwork for concrete slabs by ETH Zurich
Clever formwork could be used to make buildings less concrete-intensive. Photo by Patrick Bedarf

Buildings and construction are chief among the four sectors responsible for this increase, according to the Global Resource Outlook. “The built environment globally is the fastest growing material consumer,” said Okatz, who is the “right hand” of IRP co-chair Janez Potočnik and the director of natural resources at consulting firm Systemiq.

But the report also outlines an achievable path by which the industry could reduce its use of raw materials by 25 per cent by 2060, while helping to deliver “global prosperity”.

“You can lift a lot of those people now living in poverty onto a level of really good quality of life in a really efficient way if – and this is the important if – high-income countries also get a lot more efficient,” Okatz said.

Single-family homes “bad urban design”

Concrete makes up the biggest and fastest-growing chunk of the built environment’s material demand.

Sand, gravel, limestone and other “non-metallic minerals” used to make concrete account for half of all materials extracted globally and around half of the industry’s entire climate footprint, according to the Global Resource Outlook.

More efficient structural design – making use of innovations such as vaulted flooring and clever formwork – can reduce concrete use per building by around 30 per cent, Okatz estimates.

And switching to low-carbon concrete or biomass-based alternatives like timber can help to mitigate some of the adverse environmental impacts.

But perhaps the biggest and most undervalued solution highlighted in the report lies in changing what kind of buildings are built – not just how they are constructed, according to Okatz.

“About 50 per cent of residential construction in Europe is single-family homes and, to be honest, that’s just bad urban design,” she said.

“It’s also not particularly future-proof because demand might still be quite high now but the overall trend, largely, is people moving into city centres and wanting to be less car-dependent,” she added.

“So we think a lot of that will basically be a bad investment beyond 20 years from now, even if it wasn’t resource inefficient.”

Architects can lead the charge

Instead, the data suggests we need more “medium-density” residential buildings, which require fewer resources to build and operate while offering a superior quality of life compared to more dense developments.

“In a European context, the average is to say something like six-unit houses are probably best,” Okatz said. “Because it still allows people really good green space access and good noise insulation, all of these things. But it’s quite efficient.”

Following the example of Belgium’s De Sijs project (top image) and Virrey Aviles Street housing in Buenos Aires (below), making these kinds of dwellings more aspirational and attractive presents a key opportunity for architects, according to Okatz.

Aluminium Virrey Aviles Street apartment surrounded by lush greenery by Juan Campanini and Josefina SpositoAluminium Virrey Aviles Street apartment surrounded by lush greenery by Juan Campanini and Josefina Sposito
Virrey Aviles Street housing balances resource efficiency with green space access. Photo by Javier Agustín Rojas

“Architects and great design should be valued more because everyone can do a boring single-family home but not everyone can do an amazing six-unit community living space,” she said.

“What good architecture can do to slightly denser living – to me that is where I would see architects really leading the way,” Okatz continued.

“To say: if you do it right, this is how amazing life can be in these kinds of set-ups so people don’t even want to live in their own little thing anymore because it’s lonely, inefficient and expensive.”

The top image of the De Sijs housing project in Belgium is by Stijn Bollaert.

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Our biggest climate challenge is no longer denial, but despair
CategoriesSustainable News

Our biggest climate challenge is no longer denial, but despair

Climate fatalism stands in the way of a sustainable future but designers and architects are in an ideal position to overcome it, writes Katie Treggiden.


The mainstream media is finally waking up to the realities of climate change. As wildfires, floods and storms wreak havoc across the world, journalists and activists far braver than me are speaking truth to power to make sure we all know just how serious this thing is. And that is vital and right and proper.

However, fear doesn’t motivate action. The biggest obstacle for the environmental movement is no longer climate-change deniers – the evidence is incontrovertible to all but conspiracy theorists. It is those who are fully on board with the fact that humans are the root cause of some very real problems, but just don’t believe that we have what it takes to solve them. Our biggest climate challenge is no longer denial, but despair.

Fear doesn’t motivate action

To spark meaningful change, we need hope. We need to believe not only that a better world is possible, but that we each have the power to help bring it about.

I’m not talking about blind faith or passive optimism. I’m talking about active hope. I’m talking about waking up every morning and making a choice to believe that we can solve this wicked problem, and then choosing to act accordingly. And in today’s climate – political, economic and social as well as environmental – hope is an act of defiance.

So, how can architects and designers inspire defiant hope?

The Berkana Institute’s “two loops” model of systems change proposes multiple roles that people and institutions can play in the transition from a declining system to an emerging one. As the dominant system begins its decline, “stabilisers” keep what is required in place until something better is ready, while “hospice workers” support the process of decline, minimising harm to those still within it.

In turn, the emergent system gathers pace as “pioneers” come up with new ideas, products and systems and they are joined together into networks by “connectors”. Together, they form supportive “communities of practice” that enable them to grow their influence and, eventually, rise up to replace the old system.

In the transition from the declining linear take-make-waste economy to an emerging regenerative and circular economy, we might cast architects and designers in the role of “pioneers” – problem-solvers who can create pragmatic ways to move society towards a better world.

And that is valid; if architecture and design solve problems, then surely they should contribute genuine, impactful, and replicable solutions to arguably the biggest problem ever to have faced humanity.

In today’s climate – political, economic and social as well as environmental – hope is an act of defiance

However, I believe they can also play another part. On the emerging-system loop, there is a role for “illuminators”: people who paint a picture of what a better world might look like.

You see, there is no point in the model where the two loops touch, no simple juncture where people can step off one system and onto the next – they must take a leap of faith. Illuminators are the people who can give them the courage to do that.

One of the questions I get asked most often when I speak at conferences about craft and design in the transition to a circular economy is: “Okay, but how does it scale?”

Firstly, I would contend that scalability is what got us into this mess, and what we need instead are locally replicable solutions, but increasingly I am questioning whether everything we propose as an industry even needs to do that. Perhaps part of our role is simply to inspire hope – defiant, stubborn, active hope.

Kyloe Design’s kelp chair, showcased recently as part of Green Grads at the London Design Festival, may never make it into production and it’s highly unlikely that it will drive the wholesale replacement of leather across the furniture industry. But it does showcase the potential of this incredibly renewable, climate-positive, underutilised material, while provoking the curiosity to learn more.

From responsible material sourcing and advocating for worker welfare to using smartphone components anyone can switch out, Fairphone is offering real-world solutions. But its founder, Bas Van Abel, was realistic about what he could achieve directly, so launched the company with the stated aim of motivating the rest of the industry.

There is little doubt that his efforts have had a hand in both the incoming EU legislation that will require smartphone batteries to be “easily replaceable” and the recent launch of a repairable Nokia phone.

Part of our role is simply to inspire hope – defiant, stubborn, active hope

Zaha Hadid Architects principal Patrik Schumacher might have criticised the “lack of architecture” at last year’s Venice Architecture Biennale, but what if contributions such as the German pavilion (pictured), which he described as nothing more than “piles of construction material”, are exactly what we need to inspire alternative ways of working? Entitled Open for Maintenance, the exhibition was billed as “an action framework for a new building culture” and collated materials recovered from previous installations to be used for repairing and upgrading buildings and public spaces all over Venice.

One of my favourite quotes about hope is from the author Arundhati Roy, who says: “Another world is not only possible, she is on her way. On a quiet day, I can hear her breathing.” The question I would like to pose is: how can we, as an industry, help everyone to hear the sound of her breath?

Katie Treggiden is the founder and director of Making Design Circular, a membership community and online-learning platform for sustainable designers and makers, and the author of Broken: Mending and Repair in a Throwaway World (Ludion, 2023).

Dezeen In Depth
If you enjoy reading Dezeen’s interviews, opinions and features, subscribe to Dezeen In Depth. Sent on the last Friday of each month, this newsletter provides a single place to read about the design and architecture stories behind the headlines.

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Reef Rocket is a bio-cement reef grown from plant enzymes
CategoriesSustainable News

Reef Rocket is a bio-cement reef grown from plant enzymes

Industrial designer Mary Lempres has created a bio-cement structure developed to mimic naturally occurring oyster reefs that tackle coastal flooding, filter seawater and promote biodiversity.

Called Reef Rocket, the structure comprises a duo of bio-cement modules with ridged surfaces that can be stacked in two directions and create a rocket-like shape when assembled.

Reef Rocket by Mary LempresReef Rocket by Mary Lempres
Reef Rocket is a bio-cement structure formed from two modules

Norwegian-American designer Lempres drew on biomimicry for the project, a practice that looks to nature to solve human design challenges.

The ridged modules were created to be placed underwater and emulate coastal oyster reefs, which naturally filter algae from seawater as well as attract and provide shelter for other aquatic organisms.

Bio-cement man-made oyster reefBio-cement man-made oyster reef
Mary Lempres designed Reef Rocket to emulate oyster reefs

Oyster reefs also dissipate wave energy, mitigate storm surges and manage eroding coastlines, explained the designer.

Lempres collaborated with bio-geotechnical specialist Ahmed Miftah to develop a method for growing plant-derived cement that makes up the modules, which she described as “similar to the irrigation systems required for growing a plant”.

Close-up of textured oyster reef-like structureClose-up of textured oyster reef-like structure
The designer drew on biomimicry for the project

The pair poured a bio-based, non-toxic solution containing a crude extract from globally grown plants over crushed aggregate.

Sourced in New York City, the aggregate was created from crushed glass and oyster shells salvaged from local restaurants and New York Harbour.

“The packed substrate grows similarly to a plant,” Lempres told Dezeen.

Oysters attached to the structureOysters attached to the structure
Reef Rocket was created to attract oysters

Saturated for three to nine days, the substance becomes natural concrete after the extracted biocatalyst causes minerals to form “mineral bridges” between the glass and shell waste.

“The resulting product is water-resistant, durable and comparable with standard concrete containing the same amount of aggregate,” explained the designer.

Shells and blocks of bio-cementShells and blocks of bio-cement
Lempres created the bio-cement with bio-geotechnical specialist Ahmed Miftah

“It can be grown in any environment without heat or otherwise burning fossil fuels and is derived from waste products, making it an affordable and scalable alternative to cement,” she continued.

“Bio-concrete is chemically identical to the material oysters produce to grow their reefs. The key difference is the bio-concrete we’ve developed grows in just several days, while oyster reefs take millennia to grow.”

This process closely mimics the natural processes that occur when oyster shells and coral reefs are grown, according to the designer.

“I was inspired by the ability of this reef-growing material to withstand extreme wave energy and corrosive saltwater,” she said.

Bio-cement structure in New York CityBio-cement structure in New York City
The structure was designed to be placed underwater

When creating the modules, Lempres and her team made “hundreds” of prototypes.

Eventually, they settled on prefabricated moulds, which the bio-cement can be packed into and set – “like sand” – without the need for heat or chemicals.

Bio-cement samplesBio-cement samples
Lempres and her team created “hundreds” of prototypes

Reef Rocket was deliberately developed to be small in size, lightweight and easy to assemble, making the design accessible to as many people as possible, according to the designer.

“Nature has the incredible ability to grow intricate and durable material, like shells and coral, without polluting its surrounding environment,” said Lempres.

“Reef Rocket harnesses the natural process of growing durable minerals to re-grow vital reef structures, benefiting humans and our ecology from the worsening effects of climate change,” she added.

“This paves the way for a future where hard and durable material can be grown like a crop, regenerating waste rather than polluting our environment.”

Previously, US design workshop Objects and Ideograms conducted a research project that involves 3D printing with calcium carbonate to create sustainable underwater “houses” for coral reefs and marine life to grow. Chinese materials company Yi Design developed a porous brick made from recycled ceramic waste that could be used to prevent flooding in urban areas.

The photography is courtesy of Mary Lempres



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Stella McCartney presents Sustainable Market at COP28
CategoriesSustainable News

Stella McCartney presents Sustainable Market at COP28

A grape-based leather alternative and sequins made from tree cellulose are among 15 material innovations on show as part of fashion house Stella McCartney’s exhibition at the COP28 climate conference.

In partnership with Stella McCartney‘s parent company LVMH, the Sustainable Market showcases “the possibilities of current cutting-edge or soon-to-be available technologies” that could transform the fashion industry.

Stella McCartney's Sustainable Market showcases sustainable fashion productsStella McCartney's Sustainable Market showcases sustainable fashion products
Stella McCartney is exhibiting the Sustainable Market at COP28

The 15 chosen innovators range from start-ups to established brands, providing plant-based alternatives to plastic, animal leather and fur as well as regenerative alternatives to traditional fibres.

“The fashion industry accounts for eight per cent of global greenhouse gas emissions,” McCartney said. “We need to get creative and innovative with alternatives, moving beyond the limited materials that the industry has been working with traditionally.”

“If we can work collaboratively with these goals, we can actually begin doing business in a way that regenerates our planet instead of only taking from it.”

Bioplastic sequin dressBioplastic sequin dress
Among the featured products are iridescent BioSequins by Radiant Matter

Among the featured companies is Radiant Matter, which produces plastic-free iridescent BioSequins, and Mango Materials, which transforms captured methane emissions into plastic as seen in Allbirds’ Moonshot trainers.

US start-up Natural Fiber Welding is presenting its plant-based leather alternative Mirum, which has already been used across Stella McCartney’s Falabella and Frayme bags as well as a series of fragrance-infused jackets by MCQ.

Stella McCartney's Sustainable Market showcases sustainable fashion productsStella McCartney's Sustainable Market showcases sustainable fashion products
Plant-based Mirum leather is used to produce the Falabella and Frayme bags

The Sustainable Market also showcases examples of finished products including crochet dresses and bags by Stella McCartney that are made using seaweed-based Kelsun yarn and the first-ever garment crafted from biologically recycled polyester by US company Protein Evolution.

Another stall highlights Stella McCartney’s collaboration with Veuve Clicquot to develop a grape-based leather using waste from the champagne house’s harvest.

Bag made from kelp yarnBag made from kelp yarn
Seaweed-based Kelsun yarn forms crochet Stelle McCartney bags

The Sustainable Market also highlights three student projects from the Maison/0 incubator at design school Central Saint Martins, which is supported by LVMH.

Automating Violacein by Charlotte Werth explores how an automated microbial dye process can be used to produce printed patterns for luxury textiles.

Other projects examine how bacteria, algae and food waste could offer bio-based alternatives to synthetic dyes, and how lab-grown keratin fibres could be used for luxury clothing.

The products are displayed in market stalls featuring 3D-printed walls infused with a compound by Spanish materials company Pure Tech, which it claims can remove CO2 and volatile organic compounds (VOCs) from the air by converting them into harmless mineral particles.

Stella McCartney's Sustainable Market showcases sustainable fashion productsStella McCartney's Sustainable Market showcases sustainable fashion products
This bag is made using grape leather made in collaboration with Veuve Clicquot

Other brands invited to participate in the market include US company Brimstone, which claims to have created “the world’s first carbon-negative portland cement”, and Chargeurs Luxury Fibers, which produces wool using regenerative farming methods.

McCartney was asked to represent the fashion industry at COP28 to advocate for policy and regulatory change to incentivise sustainable business and the decarbonisation of the industry.

Mannequins wearing Stella McCartney garments at COP28Mannequins wearing Stella McCartney garments at COP28
Several Stella McCartney garments demonstrate the materials possible applications

Her delegation also seeks to promote human and animal welfare while building a coalition of global government and business leaders to scale investment in material innovations.

Recently named among Time magazine’s 100 most influential climate leaders, McCartney bills her eponymous brand as the world’s first luxury fashion house to never use animal leather, feathers, fur or skins.

Products by Nativa showcased at Stella McCartney's Sustainable MarketProducts by Nativa showcased at Stella McCartney's Sustainable Market
Chargeurs Luxury Fibers produces wool using regenerative farming methods.

The Sustainable Market concept was first launched as part of her Summer 2024 runway show during Paris Fashion Week and will continue to evolve over the coming year following COP28.

The exhibition is taking place at the climate conference until 12 December in Dubai, United Arab Emirates.

Stella McCartney's Sustainable Market showcases sustainable fashion productsStella McCartney's Sustainable Market showcases sustainable fashion products
The stalls were 3D-printed in collaboration with Pure Tech

Last year’s Conference of the Parties (COP), which was held in Sharm El-Sheikh, Egypt, saw architect Norman Foster launch a set of sustainability principles for architects while a team of researchers developed an app that predicts damage to global cities from rising sea levels.

The event was described as “deeply depressing” by architect and engineer Smith Mordak in their opinion piece for Dezeen, with other architects and sustainability experts expressing frustration at the slow pace of global action to reduce carbon emissions.

The photography is courtesy of Stella McCartney.

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“Our task is not to live forever” says Paola Antonelli
CategoriesSustainable News

“Our task is not to live forever” says Paola Antonelli

MoMA curator Paola Antonelli believes humans will go extinct as a result of climate change, but is “very positive” about how designers can help to slow the decline, she tells Dezeen in this interview.

The Museum of Modern Art curator is the author of several books including Design Emergency (co-written with Alice Rawsthorn), and runs the Instagram account of the same name that explores how design can help build a better future in the face of serious global issues.

Among the exhibitions she has curated is Broken Nature: Design Takes on Human Survival, which showcased architecture and design projects from the last 30 years that explore our fractured relationship with the planet.

To Antonelli, the vital importance of focusing on these issues is obvious.

“When one has a pulse and a brain, one can not be aware of the climate emergency and not be concerned and tempted to do whatever one can, whatever is possible,” she told Dezeen.

“Design is a force for any kind of change that needs to happen”

Antonelli believes that design is well-placed to play a leading role in the global effort to solve or mitigate issues relating to climate change.

“Design is a force for any kind of change that needs to happen,” she said. “It’s a force for propaganda, for changing people’s behaviour, for re-addressing issues, for changing products so that they can become more attuned to needs.”

“It is like an octopus that has different tentacles and can touch multiple point pressures in the ecosystems that make up our life.”

Life Cycles exhibition at MoMALife Cycles exhibition at MoMA
Life Cycles: The Materials of Contemporary Design is Paola Antonelli’s latest exhibition

“When it comes to the climate emergency, design can take on many different roles,” she added.

“I don’t feel that design by itself can change or save the world – that is always a utopia, and it’s unrealistic – but I find that it is a fundamental part of any team effort, and all efforts have to be team efforts at this point to change the status quo.”

One way in which designers can work towards slowing the climate emergency is by creating products which, rather than using materials that contribute to the pollution of the planet, focus on upcycling, re-use and using waste instead of new materials.

MoMA exhibition explores design’s impact on the ecosystem

This is the theme of Antonelli’s latest exhibition at MoMA, Life Cycles: The Materials of Contemporary Design, which explores “the regenerative power of design”, examining how design can be elegant and innovative while still respecting the ecosystem.

Among the pieces on show are works by Mexican designer Fernando Laposse, who has created a marquetry material from the husks of heirloom corn species, and by designer Mae-Ling Lokko, who has a company in Ghana that creates building products from mushroom mycelium and coconut shells.

Corn by Fernando LaposseCorn by Fernando Laposse
Fernando Laposse works with heritage corn species

“[Lokko’s work] is about agricultural waste, but very localised to where it is, and I see many designers behaving that way,” Antonelli remarked.

In that vain, she believes designers should look to how people in their local environment have dealt with disastrous natural events in the past to help prepare for a future in which they will become more frequent.

“When you’re dealing with a disaster, it’s usually is a disaster that happens near you, so you could learn a lot from how things are done near you,” Antonelli explained.

“Floods have happened for centuries and they might be more frequent now, but cities and regions of the world have been dealing with them for a really long time,” she added.

“So they might have some structures already in place that need to be either relearned or deepened.”

This is already underway, Antonelli believes, with designers and architects increasingly “studying the local”.

“That is happening at many different levels,” she said. “There are architects and landscape designers that are really trying to understand Native and First Peoples approach to land, respect, land-use or land non-use.”

“Global technological efforts are important, but without that attention to local realities they will be simplifying, or at least overlooking, many important aspects.”

Coronavirus pandemic “gave us a feeling of what clean skies could be”

She argues the coronavirus pandemic also underlined how quickly things can change and that we can have an impact on the climate and how it behaves.

“The pandemic brought everything to a stop and gave us a feeling of what clean skies could be – I mean, we rapidly forgot about it, but there was still this moment of stunned recognition of the fact that skies can be blue if we all stop using cars for a few days,” Antonelli said.

Life Cycles exhibitionLife Cycles exhibition
MoMA’s Life Cycles exhibition looks at design’s relationship with the ecosystem

And with much of the world currently in turmoil, whether from the climate emergency or other human-driven disasters and wars, she thinks there is more of a willingness to take these questions seriously.

“There are so many tragedies that are happening in the world right now, there’s no respite, but I feel like it brings everybody more on an alert kind of attitude,” she said.

“So I feel that the climate emergency is considered with more seriousness because it undergirds many of the other crises.”

“Our task is to leave the planet in a better condition”

While Antonelli doesn’t think humans can design our way out of our own extinction, she believes design can play an important role in slowing the decline.

“Slowing the decline is very, very positive; I am very positive,” Antonelli said.

“Even though – as I was saying at the time of Broken Nature – I believe we will become extinct, we have a little bit of control on the when and a lot of control on the how,” she added.

“I’m optimistic that we can be dignified, responsible, and compassionate towards other people, towards other species and towards the planet.”

“And that is our task. Our task is not to live forever. Our task is to leave the planet in a better condition than we found it, or at least as good as possible.”

The exhibition photography is courtesy of MoMA.

Dezeen In Depth
If you enjoy reading Dezeen’s interviews, opinions and features, subscribe to Dezeen In Depth. Sent on the last Friday of each month, this newsletter provides a single place to read about the design and architecture stories behind the headlines.



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