How
important is sustainable design within the creative industry and why?
Sus.tain.a.ble
– Of, relating to, or designating forms of human economic activity and culture
that do not lead to environmental degradation, esp. avoiding the long-term
depletion of natural resources.
Global
warming is an ever increasing issue in today’s society, but are we doing enough
to ensure that the issue is being adequately addressed?
Unfortunately,
mass production to consumption beyond our basic needs is slowly leading to the
extraction of resources superior to the earths capacity. Which, in the
foreseeable future, would put our planet, and our future on earth, at an
increasing risk.
Human
industry’s demands are so high, impacting the increasing quantities of gases
that are being released into the atmosphere. Deforestation also plays its part
in this. Increased carbon dioxide acts like a blanket over the surface of the
earth, keeping it far warmer than it should be. This, in time, will lead to
global climate change. Houghton brings to our attention that:
“If the
change were small and occurred slowly enough we would almost certainly be able
to adapt to it. However, the rapid expansion taking place in the world’s
industry the change is unlikely to be either small or slow.” (Houghton.J, 1997,
p.8)
We are
threatened by our own selfish indulgences. The earth is getting warmer, the ice
continues to melt and the sea levels rise, and yet the we continue to buy into
mass production, which is consequently destroying forests and leading to the extinction
of thousands of species.
Without realising, forests impact our daily
lives more than we could imagine. Whether its directly or indirectly, they are
a part of our every day lives. From paper to medicines, from wood to cosmetics, to the air we
breathe, we are evidently dependant on the forests products. Forests provide
homes to differing animal species, they limit soil erosion, offer livelihood
for many human settlements, and above all prevent global warming by
photosynthesising carbon dioxide.
However, we
are losing them. Over the last 50 years, around half of the earths primary
forest cover has been destroyed, generally because of chaotic use of its
resources. When we remove the trees, our entire ecosystem begins to fail, with
extreme consequences for everybody. Is this the result of greed?
Fisher
& Ponniah (2003) stated that:
“In a world
of rapid globalisation, where large corporations grow more powerful in their
pursuit of economic expansion and profits, there are growing networks of
concerned activists who are not dazzled by the promised land of globalisation.
They are alert instead to the dangers globalisation presents to justice,
cultural autonomy and the environment... they work to make visible the damage
and danger wrought by rampant and unexamined economic expansion. (Fisher &
Ponniah, 2003, p.2)
In the
1980’s, a scientific consensus surfaced about major environmental issues.
Global warming became a cause for severe scientific debate. These issues arose
among the public, seeing a rise from 8% to 30% in two years in the number of
people in Great Britain who believed that environmental problems should be the
governments priority to address.
Almost 30
years later, we are still trying to tackle the problems.
2015 was
the year for Climate action. An historic agreement to combat climate change
took place in Paris. 195 nations agreed to take action and invest in a
sustainable future on the 12th December 2015, displaying the nations
cooperation and care for our world. A date to remember. 187 countries submitted
their national contributions, their country programmes for mitigation and
adaptation, demonstrating their commitment to the fight against climate change.
UN Secretary General Ban Ki-moon reflected how:
“We have
entered a new era of global cooperation on one of the most complex issues ever
to confront humanity. For the first time, every country in the world has
pledged to curb emissions, strengthen resilience and join in common cause to
take common climate action.”
Undoubtedly
this was a great step for man kind. However, there are certain elements to
consider. Just days before the nations met in Paris for the climate conference,
the Brandalism project swept through the streets, leaving thought provoking
messages behind.
82 artists
from all over the world installed 600 fake advertisement posters broadcasting
the true facts about the corporate companies sponsoring the event. To satirize
the messages found throughout the city.
Brandalism
describes itself as a revolt against corporate control of the visual realm.
During this particular project, they targeted the airlines, car manufacturers,
banks and fossil fuel energy companies that backed the event. By sponsoring the
climate conference, companies like Air France are misleading the public to think
that they are part of the solution, when in fact, they are adding to the
problem.
The action
taken by these artists is enough to spark something deep within the creative
industry. The creative communities are starting to create art that tells
stories and evokes emotions neither science nor politicians can. Perhaps the
Creative industry holds the key to communicating our climate concerns to the
world. In todays society, we are given an abundance of opportunities for
driving change. Does this mean we cease these opportunities?
Sustainability
within the creative industry is on the rise. Practitioners are starting to
realise the importance of conserving our earths resources, just as much as the
clients are. People are starting to care. Presented with a myriad of
possibilities, creatives have the chance to make an incredibly important change
in our world today.
Editorial
illustration is such an important asset in our everyday lives. Newspapers and
magazines print illustrations alongside their articles to shine a light on some
of the concepts for the reader, to highlight and emphasize important points, or
simply to get people interested in what the text might have to say.
On the topic of
deforestation within editorial work, the demands are increasing. However, there
are some very interesting points made in Steven Miles' 'Consumerism as a way of
life' about how ecological we as designers can actually be, and whether we need
to make a significant change to the way we work or not. He argues that:
'the designer
must assume more responsibility for what he or she designs, this is not always
possible when designers have to contend with directive clients'. (Miles.S,
1998, p.45)
Designers are
approached to make work for articles about global warming or climate change,
but then that illustration could then go on to be printed in hundreds and
thousands of newspapers, which almost defeats the object of the article in the
first place.
Do we need to
have more of a say in these circumstances? We as illustrators don't necessarily
have any power in any of this. We live in a world where we 'prioritise financial profits before ecological
concerns.'
Should we be
finding alternative means of creating work, or translating messages through
visual imagery? Miles highlights that:
'Designers operate in a world where the
creation of wealth is a prime motivation.' (Miles.S, 1998, p.46)
We are giving
into consumerism, becoming corporate sell outs. Culture and design have the
capability to shape a better future. But how?
Designer, Anna
Garforth is making it possible. Her work is made from recycled items and
natural media, to create sustainable artworks within unban spaces. She is
primarily known for her moss made typography, but uses all kinds of natural
media within her practice. From cookie dough to leaves, to the yellow pages. These
eye catching forms of street art are intelligently and skillfully made, and
provoke thought and curiosity for the viewer. Garfoth keeps some of her methods
secret, such as the moss typography on walls, but there’s no doubt that she is
creating with a sustainable conscious.
Using recycled
materials to create art is becoming much more popular as of late, more than
likely due to the ever increasing risks we put our planet in daily, and the
fact that it’s a cheap and environmentally friendly way to be creative.
Another
individual who takes a sustainable approach within her practice is Portsmouth
based artist Julie Alice Chappell. She is chiefly known for her ‘Computer
Component Bugs’ series. These beautifully crafted sculptures are made
completely from circuit boards found inside discarded electronics. Through this
particular series, her motive was to raise awareness of environmental waste.
She explains:
"The recycled bits of cultural refuse that are woven
throughout my work represent a direct encounter with the excesses of modern
living highlighting the dangers of planned obsolescence and e-waste in the
environment. The work displays an aesthetic beauty whilst offering a
socio-political discourse, attempting to reclaim waste and the destruction of
the natural world, in the beauty of visual art."
Working
to portray environmental messages is always at the centre of what she does. Her
first batch of electronics came from the Beneficial Foundation in Portsmouth,
additionally known as “The Craft Bank”, a place where unwanted company products
are donated, to then be passed on to schools, artists or community projects.
Creating
work from salvaged items such as these is as much innovative as it is
inspiring.
Chappell’s
methods emphasize the fact that beautiful things can originate from our not so
beautiful waste in todays society. Keeping her sculptures sympathetic to our
current environmental issues provokes thought in the viewers mind, and urges
one to ask questions when studying something so original and well crafted. The
attention to detail and precision within Chappell’s assemblages is exquisite. (fig.1)
Raising awareness is all about creating work which makes people
question the content of the piece. By using recycled items such as these, we
are able to reduce our quantities of waste whilst making something
aesthetically charming. If the creative industry as a whole started to think
and work like this, we would be contributing towards a better future for the
generations to come.
It’s one thing to create images and sculptures through using
sustainable materials, but its another thing completely raising awareness with
an image. A mural that reflects the argument within this essay can be found at
10010-105 street on the Edmonton John Howard Society Building in Alberta,
Canada.
The mural was created in July 2010 by artists, Luke Ramsey and
Josh Holinaty. The project was produced by the Edmonton small press association
(ESPA) who work hand in hand with social issues and sustainability. ESPA was
set up in 1998 and is a non-profit volunteer directed arts organization, driven
by their socially-conscious and community cultural mind set in order to make
positive social change through the arts.
This particular mural (fig.2) promotes a positive change through
the messages it communicates. The mural, titled ‘Transition’ displays two giant
figures, and on the whole is a portrayal of a more idealized environmental
future.
The giant on the right is made up of waste and junk, an assortment
of the destructive man made, mass made materials on this earth. He appears to
be buckling under the weight of it all, sweat dripping down his face, as though
the pressure from it all is too much to handle. Completely contrasting to the
giant on the left, who is made up of naturally produced products such as leaves
and flowers and rivers. The contrast captures the viewer’s attention and
encourages thoughts and emotions towards the message behind it.
The green giant’s arm is placed reassuringly on the man made
giants shoulder, and a positive change starts to occur, a gradual healing of
the urban world, relieving the burdened giant. This change unites the two, and
there is harmony to be found in the piece as the two faces come together to
make a complete circle.
This mural shows hope in that we can solve our environmental
problems, that the issues discussed here are adjustable. Positive messages like
these are so important within society today, and the need for them is ever
increasing as we continue to destructively impact our planet.
Creatives need more so than ever to realize the importance of
raising awareness when related to this subject, being that its so current and
effects us all on a global scale.
Its been noticed that we perhaps aren’t using our creative skills to
their full potential, that the essence of the design world has been lost in the
realms of consumerism. We are working within restraints when taking on large
corporate jobs. As highlighted in Ken Garlands ‘First things first Manifesto’:
“By far the greatest time and effort of those working in the
advertising industry are wasted on these trivial purposes, which contribute
little or nothing to our national prosperity.”
Echoing this statement in the later version of this manifesto,
Adbusters wrote:
“In consequence, many young designers have little conception of
the values, ideals and sense of responsibility that once shaped the growth and
practice of design.”
The design industry needs to take a step forward, take initiative
and start to put their skills to good use in order to pave the way for the
future of designers. Creatives have the power to communicate universally, so
raising awareness centred around subjects such as these should be a priority.
Raising awareness and taking a step towards a more sustainable
practice isn’t likely to be easy. It would involve an entire lifestyle change. Eco
design entails that the production, consumption and disposal of the product
should not contribute to further environmental degradation. Thus meaning a
major reorganisation of production and consumption practices should be
addressed, which in many cases has come to maximize profit rather than to
administer to sustainable advancement. However, the importance of this change
should be entirely focused on sustainability within ones practice. Mirroring
these concerns, Wagernagel and Rees’s study (1996) ‘Our Ecological footprint,’ reflects
how:
“As the world becomes ecologically overloaded, conventional
economic development actually becomes self destructive and impoverishing. Many
scholars believe that continuing on this historical path might even put our
very survival at risk.” (Wagernagel & Rees, 1996, p3)
Generally, artistic sectors are beginning to make changes though.
They are increasingly affected by economic developments and global culture, so
much so that interests are growing in exploring contemporary processes of
social and cultural transformations. Networks of creatives engaging with communities
and with environmental problems are growing. One project that’s taking this
approach on board in particular is Sustainable
Creative Cities, who explain that:
“The
starting point for a Sustainable Creative City is culture and creativity: the policy
and practice may incorporate environmental and economic concerns but,
essentially, sustainability here calls for a broader interpretation.”
Although these changes within the creative industry may be
difficult, take more time and perhaps not make as much profit as something
that’s been mass produced, it is essential that we try. The creative industry
impacts almost every other industry in some way or another. Designers need to
re-think their values, change their tone of voice and start contributing towards
a far more sustainable future. Promote positive change and evoke awareness
where possible, just like the Brandalism project, Ramsey and Holinaty’s mural
and all of the other practitioners that are stepping up to the challenge. The
truth must be advertised. We live in a society where communication is global,
where there’s opportunities within every culture to embed change, where social
media can make a forceful impact. Creatives need to use these assets in their
favour, and strive for a more sustainable future. It should be a consistent
factor within the design world, and spark inspiration to do the same in the
next generations. The future of the world really does depend on our ability to
understand and communicate with each other. Cheryl Heller of Heller communication
design highlights that:
“We need to think about communication differently now. For
starters, we have to come to grips with what’s at stake: the planet, animals,
and everybody we know and love. Genuinely accepting this changes things. It puts
all that we do in a different context, and makes every opportunity we have to
connect with people-and move them-a little more precious, and a lot harder to
squander on inanities.” (Heller, C. 2008, p31)
There is no right way to work sustainably. It all depends on the
resources available to you, your local conditions, and on the details
surrounding a particular job. But this does not mean that there is no way to work sustainably. In the very
near future, sustainable thinking of responsible production will be an absolute
must for designers. Sustainability is not about easy answers, but about
embarking on a life changing journey. The reality of sustainable design is
dependent on individuals making responsible choices. If we can do this, we have
the chance to conserve the environment, for the future generations to come.
Bibliography
Images
Fig 1.
Fig 2.
Bibliography
Houghton, J. 1997. Global Warming: The Complete Briefing. 2
Edition. Cambridge University Press.
Fisher, W. & T. Ponniah (Eds) 2003. Another World is
Possible: Popular Alternatives to Globalization at the World Social Forum.
Edition. Zed Books.
Miles, S. 1998. Consumerism: As a Way of Life. 1 Edition. SAGE
Publications Ltd.
Wackernagel, M & W.Rees, (1996). Our Ecological Footprint:
Reducing Human Impact on the Earth. Canada, New Society Publishers.
Heller, C. 2008. SustainAble: A Handbook of Materials and
Applications for Graphic Designers and Their Clients (Design Field Guide). 1 Edition.
Rockport Publishers.
