Skeleton of mass-timber building
CategoriesSustainable News

The hidden environmental impacts of getting mass timber wrong

Skeleton of mass-timber building

Architects are increasingly using mass timber in the hopes of creating net-zero buildings but carbon assessments are missing key sources of potential emissions, researchers tell Dezeen in this Timber Revolution feature.

The standard method for determining a building’s overall carbon footprint is a whole-building life-cycle assessment (LCA) that breaks down emissions at every stage – from the sourcing of raw materials to their ultimate disposal.

These calculations tend to indicate significantly lower emissions for timber structures compared to those made entirely out of concrete and steel. But experts warned that LCAs only tell part of the story.

“LCAs do not typically consider anything that happens in the forest,” said forester and timberland manager Mark Wishnie.

“And the land management side is, from a climate perspective and a biodiversity perspective, enormously important,” added Steph Carlisle of the Carbon Leadership Forum research group. “That’s really where all the action is.”

End-of-life “very, very important”

Because so few mass-timber buildings have been constructed – let alone demolished – researchers are also unable to reliably forecast what will happen to engineered timbers at end of their life and what emissions this would entail.

“There’s not a lot of data available to predict end-of-life and that can be very, very important,” Wishnie said.

This leaves both researchers and architects with an incomplete picture of mass timber’s climate impacts, which urgently needs to be addressed if the industry is to scale up sustainably without adverse effects on the environment.

Skeleton of mass-timber building
Mass timber offers one potential route to achieve net-zero buildings. Photo by George Socka via Shutterstock

“We need better transparency and traceability,” Carlisle said. “When architects use tools and they don’t necessarily know what’s going on behind them, they can really mislead themselves about the real emissions.”

“If we get this right, it has such incredible potential,” added Robyn van den Heuvel of the Climate Smart Forest Economy Program. “Not just for the built environment but also to ensure forests are sustainably managed.”

“But there are incredible risks of getting this wrong. It could result in the exact opposite effects of what we’re trying to create.”

Badly harvested timber has higher embodied emissions

Timber’s climate potential lies in its ability to sequester large amounts of CO2 from the atmosphere during its growth – in contrast to common building materials like concrete and steel, which mostly just produce emissions.

As a result, mass timber has been widely hailed as a way to help architects make their buildings net zero and, by extension, help the built environment mitigate the 13 per cent of global emissions that stem from the construction of buildings and the materials used in the process.

Research indicates that substituting wood for steel and concrete in mid-rise buildings could reduce emissions from manufacturing, transport and construction by between 13 and 26.5 per cent, depending on the building’s design, the exact wood products used and where they are shipped from.

But due to a lack of data, the International Institute of Sustainable Development (IISD) has warned that LCAs can gloss over the huge impacts that forest management and end-of-life can have on the overall climate impact of a mass-timber product.

Forest management is an important part of the equation, not just because it can help to prevent deforestation and protect biodiversity but also because it has a huge impact on a forest’s ability to act as a carbon sink.

Felling all the trees in a forest at the same time, in a method known as clear-cutting, can generate significant emissions by disturbing the soil and releasing the carbon it stores, which accounts for almost 75 per cent of a forest’s total carbon stock.

When this is combined with other harmful practices such as converting old-growth forests into tree plantations, this could actually make a timber building more emissions-intensive than a concrete equivalent, the IISD suggests.

“It’s neither true that all wood is good, nor that all wood is bad,” said Carlisle. “Architects really need to understand that it matters where your wood comes from.”

Forest certifications falling short

However, none of these important land-management impacts – whether good or bad – are reflected in typical life-cycle assessments.

“They don’t account for an increase in forest carbon stock or a decrease in forest carbon stock, an increase in forest area or a decrease in the forest area,” said Wishnie.

“Often, if you’ve got that wrong, it doesn’t matter what else is happening in the value chain, you already have a bad carbon story,” agreed van den Heuvel, who leads the non-profit Climate Smart Forest Economy Program.

To some extent, these concerns are addressed by forest certification schemes – the most comprehensive being FSC, which covers crucial factors such as forest health, biodiversity, water quality, and Indigenous and workers’ rights.

But these certifications do not require forestry companies to track and quantify how different management practices impact the carbon stock of a forest, which makes them impossible to represent in the LCAs used by architects and building professionals.

6 Orsman Road by Waugh Thistleton Architects in London
6 Orsman Road is a demountable timber building by Waugh Thistleton. Photo by Ed Reeve

“Right now, I have no way of representing FSC-wood accurately in a life-cycle assessment model,” said Carlisle, who is a senior researcher at the Carbon Leadership Forum.

“There’s a lot of work happening on the certification side to do that research and publish it so it can come into our models. And we really need it because it’s not going to be sufficient in the long run for certification to be a stand-in.”

FSC certification is applied to 50,000 companies globally, making it harder for architects to discern which of these companies provides the best forest management and the most sustainable, lowest-carbon product so they can vote with their wallets.

“As the user, I can’t really make choices,” said Simone Farresin, one-half of design duo Formafantasma. “I can’t evaluate if one seller is better in community support or another in sustainable growing. It’s certified and that’s it. It’s not specific.”

“When you’re looking at materials, you have all these different grades of quality,” he continued. “And we need to reach the same in terms of sustainability – we need to be able to detect these different grades.”

“No consensus” over end-of-life emissions

Another area that is lacking in reliable information, and therefore hard to represent in LCAs, is what happens when a mass-timber building is demolished.

“There is a lot of debate about how to model end-of-life and it gets really contentious really quickly,” said Carlisle. “There is no consensus. The fight is very live.”

If a building was designed for deconstruction and its timber components are reused, this could offer substantial carbon and ecosystem benefits – providing continued long-term carbon storage while reducing the need for renewed logging as well as for emissions-intensive steel and concrete.

A small number of architects have begun to deliver demountable mass-timber buildings to facilitate material reuse, such as Waugh Thistleton’s 6 Orsman Road in London.

However, most timber demolition waste today ends up in either landfills or incinerators, with both scenarios resulting in some net emissions.

“Depending on what country you’re in, that waste looks very different,” said van den Heuvel. “But that also has a really massive impact on your total carbon story.”

In the case of incineration, all of the carbon stored in the wood would be released into the air, negating any storage benefits but potentially generating renewable electricity in the process if burned for biomass energy.

In a high-quality modern landfill, on the other hand, engineered wood products are estimated to lose only around 1.3 per cent of their carbon, although part of this carbon is released as methane – a powerful greenhouse gas that is 80 times more potent than carbon dioxide over a 20-year period.

“This is counterintuitive to people,” Carlisle said. “But you see very small emissions at end-of-life from landfills because that material is largely considered sequestered and stored permanently.”

“We can’t aim for perfection”

Crucially, estimates about end-of-life emissions are mostly based on products like medium-density fibreboard (MDF), which are less elaborately engineered than structural materials such as cross- and glue-laminated timber and so may respond differently.

“There is more uncertainty around what will actually happen at end-of-life because there are so few mass-timber buildings,” Carlisle said.

Researchers and institutions such as the Carbon Leadership Forum and the Climate Smart Forest Economy Program are working hard to fill in these gaps. And ultimately, they argue that governments must set national and international standards to ensure responsible sourcing and disposal if we hope to accurately assess and realise mass timber’s climate potential.

But in the meantime, all parts of the timber value chain – from forest managers to manufacturers and architects – should be more transparent about their carbon accounting.

“I would hate to see a world in which we stop everything to make sure all the certification is perfect,” said van den Heuvel. “Because buildings are still going to get built. And if we’re not using mass timber, we’re using a product that’s going to be even worse for the environment.”

“We’re running out of time, so we can’t aim for perfection. We should aim for good enough and transparency around it so that others can improve.”

The top photo is by Maksim Safaniuk via Shutterstock.


Timber Revolution logo
Illustration by Yo Hosoyamada

Timber Revolution
This article is part of Dezeen’s Timber Revolution series, which explores the potential of mass timber and asks whether going back to wood as our primary construction material can lead the world to a more sustainable future.

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Design Declares tapestry
CategoriesSustainable News

“We need to let designer-makers get sustainability wrong”

Design Declares tapestry

The fear of being called out for “greenwashing” is paralysing designer-makers into doing nothing on the climate crisis. It’s time to let them make mistakes, writes Katie Treggiden.


“Carbon washing is the new greenwashing”; H&M called out for “greenwashing” in its Conscious fashion collection; “Greenwashing won’t wash”: all Dezeen headlines from the past few years. In fact, the last one was mine. And it’s important that we call out greenwashing – the practice of making false environmental claims in order to sell products, services or policies.

With 66 per cent of all shoppers – rising to 75 per cent among millennials – saying they consider sustainability when making a purchase, the reward is clear. But making products and services truly environmentally responsible takes time, money, and effort, and the road to get there is full of nuance, compromises and trade-offs – none of which makes for easy profits or simple advertising slogans, so companies lie, exaggerate and bend the truth to scoop those sales.

It’s important that we call out greenwashing

Advertising and sales are hardly known for being bastions of honesty, but greenwashing’s harm goes beyond simply misleading consumers into buying something they didn’t want. All the time, money, and effort invested into these practices is not being spent on actually becoming more sustainable, and companies are let off the hook. Meanwhile, the misled customers are not investing their money in the companies that are sincerely trying to do things better.

“Greenwashing perpetuates the status quo because it leads specifiers, end users, everyone in the chain to believe that they are doing better than they actually are from a sustainability point of view,” said founder of content marketing agency Hattrick, Malin Cunningham. “Equally, the businesses doing the greenwashing have no incentive to improve.”

However, all these “greenwashing” headlines are striking fear into the hearts of designers, makers, interior designers and architects who want to do the right thing, but haven’t quite got it all worked out yet. In a poll of my community of designer-makers, 100 per cent said that fear of getting it wrong had stalled progress on sustainability-driven projects.

Cancel culture and call-out culture are particularly prevalent on social media, which often lacks the nuance for proper discussions about environmentalism and yet, those are the very spaces in which small creative businesses are promoting their products and services.

All these “greenwashing” headlines are striking fear into the hearts of designers

The importance of failure in creativity is well documented. There’s the 5,126 failed prototypes James Dyson went through before finally cracking the technology behind his eponymous vacuum cleaner, the Thomas Edison quote: “I have not failed 700 times. I have succeeded in proving that those 700 ways will not work”, and the fact that Walt Disney’s first film company went bankrupt before he turned 21. But perhaps we’ve heard these kinds of stories so many times that we’ve forgotten what they mean.

In his book Atomic Habits, James Clear gives the example of a cohort of film photography students at the University of Florida. Their professor divided them into two groups. One would be graded solely on the quantity of photographs they produced – the more pictures, the higher the grade, no matter how good they were. The second group need only submit one photograph, but it would be judged on quality – to get an A, it needed to be near-perfect.

The result? The better photographs came from the first group, the group being judged on quantity alone. The moral of the story here is that in order for creative people to succeed, they need to be given permission to fail. Or put another way, holding them to a standard of near-perfection doesn’t create the conditions for success.

“The only way that we’re going to be able to tackle the huge challenges that humanity is facing is by trial and error,” said Cunningham. “Small independent businesses are very well placed to help find these solutions and it’s essential that they are allowed to experiment without being hung out to dry in the process.”

It’s important that we encourage imperfect progress, that we recognise honest intent

The difficulty is that the main difference between greenwashing and honest but imperfect progress is intent, and that can be difficult to discern. For designers and makers, Cunningham recommends transparency in communications.

“It is about having clarity around the environmental impact you’re making as a business and what your goals are – and then being transparent about where you are on your journey towards achieving those goals,” she said. “It means taking action first and communicating second.”

And what about those of us writing those headlines? It is, of course, crucial that journalists “speak truth to power” and continue to call out companies that are knowingly making exaggerated or outright false environmental claims.

But it’s also important that we encourage imperfect progress, that we recognise honest intent and that we ask the right questions to make sure we can tell the difference. In our coverage of sustainable design, we need to celebrate the journey as well as the destination.

We need to let designer-makers get sustainability wrong, so that they can get it right. All our futures depend on it.

Katie Treggiden is an author, journalist, podcaster and keynote speaker championing a circular approach to design. She is the founder and director of Making Design Circular, a membership community for designer-makers who want to become more sustainable.

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