D/zine Issue 8 by The Dub Designers

D/zine ISSUE 8

D/zine Issue 8

EDITOR Miranda Rielly GRAPHICS CO-ORDINATORS Miranda Rielly Angus Shaw EVENT CO-ORDINATOR Lexi Illuk EDITORIAL CONTRIBUTORS Alex Perestrelo Angus Shaw Camila Puycouyoul David McEvoy Eamonn Mckenna Elia Roehr Giselle Penny Isobel Morris Hunter Eccleston Markos Hughes Steve Szell Tom Emmett Yaseera Moosa COVER ILLUSTRATION Angus Shaw

Contents

Conscious Fashion

Everyone is a Farmer

Plastic Fruit

Ethics of Sustainability in Food Production

Architecture Shaped by Time and Place

Self Sustainment

Sustaining History

Integrity in Design

Communities in Changing Cities

Young Blood

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Sustainability What does it mean to you? Literally, we can understand the word ‘sustainability’ to mean, the In this day and age the concept of sustainability is a fundamental consideration that we hear spoken frequently, especially for those of us who are designers. Its an imperative way of thinking to move forward into the future and one we must address with careful consideration. I suppose people generally think of the environment when they hear the word sustainable. Environmental sustainability certainly informs many of the articles in this issue of the D/zine, we can’t argue it’s importance as a current global issue. What we have done this issue though, is discuss it in a more broad and diverse context. The zine m the self sustainment. productivity and we hope that these articles in the issue compel you to seek greater knowledge, inspire you to get involved (or try something new) and importantly encourage you not to be a passive activist of environmental and social change, but instead a voice against complacency. Enjoy Miranda Rielly Editor

Words By Isobel Morris Photography By Yaseera Moosa

Everyone is a Farmer Isobel discusses the benefits of permaculture and uncovers the green havens that are in our very backyard

“You can solve all the world’s problems in a garden.” - Geoff Lawnton

So how can we, as an individual, change this? To be clear, the problem doesn’t just stem from what we as individuals are choosing to consume, the agricultural industry has a lot to answer for as well. The evolution of technology is continually making our everyday lives more convenient, it also happens to be making growing and cultivating produce on commercial farms a whole lot more efficient. With the Australian farming industry growing from $8.2 billion to $32.5 billion from 1980 to 2011 (Bureau of Statistics, 2013) farmers are using this new technology to their advantage in order to keep up with the international demand for produce. The mass use of chemical fertilizers, pesticides and fungicides are all destroying not only the soils they are seeping into, but polluting the surrounding rivers, streams and oceans. Every ecological systems that surround these particular farms are being destroyed, limiting the amount of future fertile land.

Everyone is a farmer; or at least they could be. Geoff Lawnton said, “You can solve all the world’s problems in a garden.” Whether you are aware of it or not, farms are all around you; especially if you live inside a city. City farms (or urban farms) thrive in a busy urban setting as they have and have the ability to bring smaller suburban communities together while teaching the world the ways to produce through Permaculture. Even though the practice of growing your own herbs and vegetables is only now becoming hip, these hidden pockets of food have been around for centuries. But why is it only now that Australian national, state and local councils are bringing the concept of community gardens and city farming to life? Sustainability is something people talk about every day. In Australia alone, food waste is one of the biggest problems with 20% of the waste being produced in individual homes, and a staggering 60% by commercial businesses. Australians are buying too much, cooking too much and leaving too much behind; all adding to the mountains of un-used food. This is just one of the small systems which is directly affecting climate change. With landfills filling up quicker than ever before and an increase in the amount of methane in our atmosphere, the whole process of food consumption is spiraling out of control.

The concept of Permaculture has grown dramatically in the last decade, with many seeing it as a way in which they can lower their own ecological footprint through growing their own fruit, vegetables and herbs. Developed by Australians Bill Mollison and David Holmgren in the 1970’s these Permaculture principles aim to collaborate humans and nature to facilitate growth for the future of humanity. /11

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Martyn Noakes, a farming, biodynamics and holistic management enthusiast, teaches classes about permaculture, and says that it’s ‘a way of thinking and a new way of seeing and understanding’ and ultimately allows people to ‘build and design systems that mimic nature and hopefully integrate all the aspects of everyday life.’ City Farms focus on the teachings of permaculture and have given communities the chance to work more closely with together in a way that helps them teach each other new things and grow as a neighborhood. Noakes says that, ‘if applied properly at a community level, [it] has the potential to help us adapt to an uncertain future.’ In 2015, Brisbane introduced the newest feature to South bank; the Epicurious Garden. The Brisbane City Council took inspiration from other nationwide councils (like Sydney and Perth) and their initiatives to introduce city farming into the CBD. The space has thirty garden beds spread over 1500 square meters which is now full of tropical fruit and vegetables all native to South East Queensland. As South Bank is one of the city’s most popular destination for tourists and fellow Brisbane-ites, the Epicurious Garden has allowed them to take a closer look into the concept of farming in an urban context and how anyone, anywhere, can produce their own food. “. . . Every society that grows extensive lawns could produce all its food on the same area, using the same resources. . . world famine could be totally relieved if we devoted the same resources of lawn culture to food culture in poor areas.” – Bill Mollison

Brisbane is home to at least 37 community gardens/city farming lots from Ashgrove to Acaia Ridge and Upper Mt Gravatt to Zillimere. Wherever you are you will be able to find one. All of these have different size plots in which residents can come and volunteer their time for the maintenance of the garden or actually use one of these allotments to grow their very own personal source of fresh fruit and vegetables. As more high rise buildings are popping up throughout the River City, residents are left without the luxury of a backyard. This is where the NSFC comes in. Northsey Street City Farm (NSCF) in Windsor is one of the largest city farms in Brisbane, which holds workshops and permaculture courses with the mission of helping teach others about how to live off the land you sow. Just off of Lutwyche Road the team of volunteers, nursery staff, community members and lot owners rally together to create a ‘cooperative, community based urban permaculture farm which demonstrates, promotes, educates and advocates for environmental and economic stability in a healthy, diverse and supportive community.’ With over 15,000 likes on Facebook, the interest is growing by the day making all of their events and Sunday Organic Markets a full on affair. If you’re serious about saving the world one step at a time, or alternatively just really enjoy eating great fresh food, then buy a pot and start using the most basic elements in life. Before you know it you’ll have abandoned the fruit and vege section at Woolworths in favour of food you’ve grown yourself.

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Books to Read Even if you’re not that keen to get your own little veggie patch or herb garden going you should definitely check out these nifty little guide books describing the world of food stability, “food” identification and permaculture in a whole new way.

The Thrifty Forager By Alys Fowler Fowler inspires and delights you with her knowledge of how to use the simple things to survive. If nothing else, the sheer comedic way in which she tricks her husband into eating the many ‘varieties’ of natural spinach, and beautifully calm photography, is worth your while.

Essential Urban Farmer

Apartment Gardening

By Novella Carpenter and Willow Rosenthal

By Amy Pennington This beauty is if you genuinely have no green thumb abilities anywhere in your body but your willing to give it a go. From tips on how to actually build a veggie garden on a tiny apartment balcony, to ideas on how to plant, seed and pickle all of your produce.

Many urban farmers will agree this is the one to start with. Every aspect of farm planning and every detail of individual ecological systems in which you are creating, written simply for anyone to be able to achieve any sized urban farm.

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Words By Alexandra Perestrelo Photography By Camila Puycouyoul and Alex Perestrelo

Conscious Fashion Do you really shop consciously? Alex looks at what emerging designers are doing and how we can all play a part in reducing the collective impact on the planet

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How do we fit our global consciousness into an industry ruled by economics and desire? As designers our lives revolve around constant reinvention and reinvigoration. To be asked to create more is a pleasure, but this comes at a cost. We are producing masses of garments, the majority with short-term life spans, resulting in an unsustainable level of production and waste. The fashion cycle is speeding up as weekly releases and direct to consumer strategies push the boundaries of dated categories. Highstreet retailers are using every online method to snap up consumers and luxury fashion houses are spreading their global wings, showering us with leather goods and monogrammed hardware. So where is the silence in this vivid walk in wardrobe? Closer to home than we may think…

experimental and artisan methods. Their clothing is versatile and interchangeable and so is their brand identity. Linda and Thea are using TLC as a voice and to speak up about issues within the industry. At Melbourne Fashion Week this year they launched their new collection in a peaceful protest against our consumerist culture. A fitting and very appropriate illustration of fashion with a conscious. Although based in Melbourne, the identity of TLC has a moral connection to the work of industry icon Vivienne Westwood. Known for her passionate pursuit for the greater good, Vivienne is pioneering the creation of a strong relationship between fashion, the environment and society. Whether it be fighting for Julian Assange’s freedom or for the Amzon, Vivienne has always been an activist, using her status and talents to build momentum and create the change she wishes to see in the world. What is truly unique about Vivienne is that she leads a global fashion empire whilst staying true to her ethical philosophies. She recognises that selling clothing may be hypocritical to her environmental pursuits, however in her biography Vivienne addresses this topic preaching conscious purchasing. Buying less but owning more. Investing in beautiful pieces that will carry with time. This is a sustainable fashion practice that we should all adopt.

Home-grown talents and QUT Fashion Graduates, Thea Blocksidge and Linda Nguyen, are stitching a beautiful path in the Australian Fashion landscape. Exploring garment creation through a philosophy of reuse and recycle, they are addressing the issue of sustainability whilst rapidly growing their label TLC. In an article for i-D this year, they spoke about their sustainable ethos, saying they “believe there’s enough waste in the world and utilising pre-existing materials means we can minimise the waste output in production”. Their collections continue to exude a unique aesthetic, which they put down to

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Applications, such as Depop, are turning our wardrobes into shops and allowing us to sell or swap our unwanted clothing and accessories. A sustainable and personal economy at your finger tips! This contemporary op-shop is just one way we can embrace the old in order to create the new. However new clothing must always be made and the key to buying new is, as Vivienne would agree, buying well. Support young talents such as TLC and acquire pieces that you are emotionally attached to. Investing in well-made basics that will build the foundations of your wardrobe. Who wants to wear the same thing everyday? Fashion exists for a reason but like everything we must act consciously to balance our visual and moral identities. There is a lot to be done to create a more harmonious and conscious fashion industry, however for now having fun with vintage pieces and being a conscious buyer is how I am playing a small but relevant part in insuring we build a conscious and sustainable fashion industry. Links @tlc.thealindacollab @aperestrelo @camilapuycouyoul @viviennewestwoodofficial @depop

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Words By Tom Emmett Photography By Yaseera Moosa

Plastic Fruit Tom goes food shopping and questions whether we need plastic packaging over all of our fruit and vegetables?

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The dreaded plastic bag, an item that was once used by all major grocery supermarkets and shops is perhaps now coming to the end of its fifteen minutes of fame. Now banned in four Australian states with QLD and NSW considering implementing the ban too, Australia may see the grey plastic artefact disappear forever. In the United Kingdom a five pence charge has been introduced, cutting usage down by 80%. China, a country that isn’t reputed for its environmental awareness, banned plastic bags back in 2008 and since then has saved around 40 billion bags each year.

packaging of food, clothes and products with a finer comb too.

This anti-waste movement is a good step in progressing to a society that exists in harmony with the environment, but it is also highly hypocritical upon closer inspection. If the Government is to ban plastic bags then investigate the whole system should be investigated with a holistic approach, looking at the

Saving one plastic bag at the checkout is a good endeavour, but continuing to use the other six without thought or consideration is hypocritical. Surely the vendor could provide paper bags for all fruit and vegetable, like they already do for mushrooms.

The plastic bag is essentially packaging. It holds and protects good for the user’s journey or travels. In a supermarket, or any fresh food store really, if the customer wants to purchase six tomatoes they will unroll a plastic bag from the cylinder of plastic and fill it up with the produce. If they purchase six different fruit or vegetables they will use six plastic bags. This is an accepted behaviour however, yet at the end of the shopping experience they will use a ‘green’ bag.

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The ban of plastic bags impacts the choice the human has at the point of purchase, the end point of their interaction with the supermarket. That is, instead of choosing between a plastic bag and their own bag, one has to provide a bag to take the groceries home. This seems logical, however there should also be a ban or legislation in place that impacts the vendor and their excessive use of plastic and packaging in the supermarket. Even if the grey plastic bag is banned, the human still has many choices and is offered many, apparently lesser, ‘evils’ along the way through the store. If one wants to purchase carrots, they can choose to fill the provided plastic bag themselves or pick up a pre-packaged plastic sack of carrots. One can also find pre-packaged tomatoes (accompanied by another hard plastic ‘tray’ inside the packet too), lettuce, capsicums, avocados and mushrooms (which have the plastic tray inside too). There are legitimate reasons to package food. For example, avocados are then packaged to preserve them for consumption in the off-season. However if this was stopped, perhaps the publics eating habits would return to seasonal pickings and align the population closer to nature’s seasons. Eating, selling and living in this manner would have dramatic ramifications across the food industry. If people were more in tune with the season’s offerings, then the need

to freeze and store food would drop thus the food eaten would be fresher and healthier. It would also encourage people to grow their own food as they become more knowledgeable about the process. Sure consumers can choose to shop at local/small grocers that encourage the use of paper bags over plastic or they can grow their own vegetables at home. In fact it’s easier than ever to grow food inside or in space poor apartments with the advent of designed products that make it simpler and more convenient to do. The onus for responsible packaging however, and an environmentally aware shopping experience, should also be placed on the food producers and largely the major supermarkets themselves. Coles, Woolworths and Aldi have considerable power in the marketplace and often flex their muscles with suppliers. If they were to tackle the packaging issue (starting instore by replacing plastic bags with paper, before pushing food suppliers to change their ways) the impact would be immediate, far reaching and hugely beneficial for the planet (by reducing plastic waste and therefore landfill and oceanic plastic build-ups). How would this happen? Consumers could protest and provide an impetus for Coles and Woolworths to act, or they could boycott the chains and shop elsewhere. This may not work effectively

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though because they ultimately provide the lowest (or most competitive) prices for groceries and many shop there because of household budget restraints. A more direct method action would be for the Government to introduce legislation for packaging on food and critically analyse the requirements for packaging of different foods and proceed logically. Designers have a key role to play in quickening the advent to a sustainable economy and future. Methods for packaging, storing, transporting and purchasing food can and should be investigated to provide solutions to the plastic problem we have in our food supply chain. Buckminster Fuller said, â&#x20AC;&#x153;you never change things by fighting the existing reality. To change something, build a model that makes the existing model obsoleteâ&#x20AC;?. By providing alternative solutions for food production, distribution and packaging designers have the ability and opportunity to change the course of the food packaging conversation. The world survived before the introduction of plastic into everyday life and thereâ&#x20AC;&#x2122;s no reason to suggest society would not survive if the removal of plastic in everyday life was a reality.

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Words By Eamonn McKenna Illustrations By Angus Shaw

Ethics of Sustainability in Food Production The idea of sustainability, sown by the seed of a chickpea, watered by the concept of responsibility, and come to fruition, by the good grace of chance.

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Sustainability is a matter of perspective, depending on how you choose to look at it. Or not. The world can no longer be viewed as just our oyster. It has become so much more than that. It is our quinoa, and our falafel. It is the basmati rice beneath our dahl, and it is Himalayan salt that seasons our Kobe Waygu. The globalization of food and culture has led to unprecedented choice in both what we can eat, and where it comes from. But with great selection, comes great responsibility, and to be responsible, we need to ensure sustainability for all factors. Sustainability with regards to food production and food security is one of the great tests of our time. The issue of food security is as worrying as a Trump Presidency, let me tell you that, with a

solution about as clear as who killed Tupac. No longer is high yield the only consideration. We want ethical, clean, Genetically Modified (GM)-free food that looks great, and tastes better. This is how nature intended it to be, and this is the key to happinessâ&#x20AC;Śor is it?. The idea of sustainable food production, for me, dictates that it is consistent and repeated, with reduced risks, and in the best interests of all parties. In order to achieve that, ethical GM should be considered. Or at the very least, not discounted. Whilst satanic, morally vacant corporate villains dip their toes into the GM waters and soil it for the rest of us (Monsanto you scum bags!), there are possibilities that GM-food production provides that can help us achieve food security with all parties in mind. The genetic modification of food to

“The world can no longer be viewed as just our oyster. It has become so much more than that.”

increase resilience and tolerance to biotic, abiotic and environmental stresses remains one of its primary objectives. Because without food, we die. And by we, I don’t mean we. The economics of supply and demand dictate that we will be looked after, because we represent the highest demand able and willing to pay the most. Who I am concerned about here, are those who’s thin bony arms hold out plates, to catch the crumbs that fall from ours, and call it dinner. If there are even any crumbs at all. In order to secure sustainable food production for global food security, let me make an argument using a small legume.

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The chickpea.

But do not fret, the development of stronger more resilient GM strands of chickpea are currently underway. These strands are designed to have an increased capacity to withstand not only abiotic, biotic, and environmental stresses, but also fare fair better during transportation.

The chickpea is complex beyond flavor, important beyond comprehension, a pillar for which Middle Eastern and subcontinent diets, a lifeline for life. It is arguably the most important grain legume cultivated by poor farmers in arid and semi-arid regions such as these, due to its ability to provide much needed nourishment in cultures where variety does not abound.

The use of GM chickpea seeds not only ensures production and high yield for Australia, but also reassures those who are heavily invested and reliant on our imports.

Cultures like India. India is a primary producer of chickpea, however demand on the subcontinent is so great that imports from countries such as Australia, are also required to fulfill this quota.

I am talking about the mums and dads who depend on us to sustain our production capacity, despite the constant threat of drought.

India’s need for chickpea is clear. They are an essential cultural and culinary ingredient, but also possess arguably humanitarian significance in their ability to substantially increase nourishment and nutrition in the diets of less economically affluent population with in the country. Of which there are millions. However, chickpeas are highly sensitive to a variety of abiotic and biotic factors, as well as environmental stress, which significantly impede its growth and resilience. This vulnerability can result in the loss of up to 50% of chickpea production, or ~4 million tones, from natural events such as drought.

I am talking about the children who need the nourishment and nutrition that is densely packed into every single grain. I am talking about the family’s who cannot afford a higher price because of reduced demand, and when backed into that corner, have no alternatives to supplement their diet. There is a time and a place for everything, and eating clean is important. But sustainable food production means ensuring the soil is not wasted on harvests that fail, and that the food produced will survive long enough for its intended purpose. The decision to demand ‘clean, and GMfree’ food is your right, but it comes at a price.

For high demand countries such as India, the impact of a 50% reduction in supply would be devastating, with the poorest socioeconomic strata being priced out and the potential for widespread and increased malnutrition to occur.

And maybe the price of that decision isn’t included in the cost you have to pay. Food for thought.

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Words and Photography by Markos Hughes

Architecture Shaped by Time and Place Markos talks about architectual design influences that have shaped the landscape of our cities historically and looks at possibilities for design in the future

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Sustainability as a concept is an overarching concern that addresses the increasing environmental problems affecting the planet today. Architecturally, sustainability impacts the outlook of designers and in this article we will explore the relationships between sustainability technology and architecture, and the consequential design thinking that is essential for a more sustainable future. History To understand the association between architecture and technology we can look back at the influence that technology has had on architecture. All definable styles of architecture throughout history have, in one way or another, been a reaction or reflection of the events, lifestyles and technologies of their time. We can understand this relationship between our past ancestors and the architecture they left behind. We can also see the

influence religion had throughout the Ages by the churches, mosques and monasteries that still stand today. We can also distinguish how advanced civilizations were by the complexity with which they built, and over time it was the remaining physical remnants that reflected the social and scientific development of the era. This influence of technology and architecture would dramatically change with the rise of the Industrial Revolution. New technologies allowed greater innovations in building design, having a lasting impact on the social attitude around the built form and its meaning. The effect of technology on architecture and ideology are important to note because it removed the cultural idiosyncrasies that had previously influenced architecture and guided it toward minimal functionalism. The Industrial Revolution led to a machine aesthetic, shaping new architectural styles (futurism and functionalism), and new-age philosophy and theory

on society. The ramifications of our exponential industrial rise through the 20th century are now being addressed, as we endeavor to implement sustainable goals that acknowledge our past actions and intervene with new solutions.

Mooreâ&#x20AC;&#x2122;s Law that predicted a twofold increase in electronic processors every 2 years proved correct, as we saw exponential growth in digital and information technology that encouraged us to consume rather than produce. The Post-Industrial age designed a content society that was unaware or unwilling to budge from the comforts that our advances had afforded us. It led to increased globalization and social connectivity. The explosion of postwar consumerism across Europe and North America created huge economic growth and prosperity. It was only by the latter decades of the century did we start researching and documenting the ecological effects our lifestyles we were having on the planet.

Technology v Architecture The industrial revolution was a key period in architectural and social developments as it was the first time in history we were able to harness the energy resources of the planet and exploit them to manufacture for an advancing society. The effects this had on our culture, our architecture and our identity were far reaching and ultimately lead to a second great revolution; that of the more recent digital information age. Our current social identity has undoubtedly been defined by the gamut of technological advancements in the last century.

And how were our architectural styles influenced by all this change and growth? I believe it continued to be an expression of our identity and the way saw ourselves. By the turn /43

of the 20th century, the new building technologies were being employed to create the world we wanted to live in. The architectural movements of the 20th century, notably in the western world, were greatly influenced by the industrial revolution, employing pure functionality as an aesthetic. The architectural dictum by Vitruvius of Venustas, (beauty) Utilitas (Utility), and Firmitas (Structure), was being influenced by the new technologies made available. Concrete and Steel was to create an aesthetic that derived beauty from pure functionality. The movements of Functionalist and Modernist architecture created a minimalist visual style that used the technologies of the early 20th century, and made physical our ideals of a techno-centric society. But in doing so, the utilitarian and functionalist architecture to disappears into the background hum of our increasingly busy lives and no longer became a driver in our social narrative. As the information age cultivated our desires for automation and efficiency, we took these ideals and applied them to our built environment. As we now look to implement sustainable design as part of our buildings, we realize that the physical demarcations that define contemporary architecture are harnessed amongst the noise of our increasingly digital world. Attempts at sustainable architecture have applied a machine aesthetic and integrated technologies as a solution to automate and control the design, construction and use of our buildings. High Tech v Low Tech Today, we are using technological solutions to help our buildings become more sustainable, and these can fall into the two categories of high tech and low-tech systems. Low-tech solutions

are passive and indirect solutions that designers have used for years to manipulate environmental conditions in a building to improve comfort. These include techniques of sun shading, natural ventilation and passive cooling that capitalize and manipulate environmental conditions. We have used low-tech solutions for centuries, as many vernacular buildings of the past would use locally sourced materials with an understanding of the immediate environmental context, inadvertently designing in a sustainable way. Lowtech solutions are highly sustainable because they do not increase the energy input or output of a building during its construction or inhabitance. Rather they redirect existing environmental resources and conditions and make them favourable for human occupation. High tech solutions, on the other hand, use technological innovations to implement “smart” systems that monitor and adjust aspects of the building to the human needs. These can include automatically balanced air conditioning, buildings that can clean themselves with “smart” windows, and highly complex green walls that increase the amount of plants and trees. The problem with the ideals of high tech in buildings is that it gives the pretensions of being sustainable through the notion that it reduces a buildings overall energy consumption “smartly”, but does not considers how that energy is obtained, or how much energy was consumed by the technologies that created the building. Our desires to use high tech solutions toward sustainable buildings have come from a pattern where increases in energy access have lead to innovation in technology. There is an underlying causality between technology and energy resources. Economist Jeremy Rifkin first popularized this concept in the 1970’s,

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expressing that humans will gravitate towards the easiest forms of energy use, before developing more sophisticated technologies to consume more energy resources. The created an increase in the global population, which continued the cycle for more energy consumption. The effects of this are what we are experiencing currently, as a third of all global CO2 emissions come from maintenance and use of our buildings. The energy efficiency in our buildings needs to be the priority by balancing the relationship between the output of beneficial energy and the input of energy, or the resources used. And this isn’t to say that low tech and high tech cannot exist together. The question is whether these solutions can ultimately be sustainable for the future. High and low tech solutions combined can increase our sustainability goals if they are designed with an architectural influence in a system that combines sustainable energy input and output. We are encouraged to design with a sustainable intent, but one that contradicts the value of true sustainability and the goal of a balanced system of inputs and outputs. High tech solutions use technological innovation by increasing the energy input in a buildings development to reduce its energy output during its use. Where high-energy use in the design, construction and use of a building can only help marginally in reducing its overall consumption. If we want to make our buildings come closer to being sustainable, we must gradually change the energy inputs into our buildings, which will change the way we design, construct and inhabit our buildings. The mass-market consumerist excess of the 20th century will have to give way to a more restrained and self-aware design ethos in the 21st century that will place greater reliance on renewable energy. We are already seeing in our /47

society how our energy use is growing, along with our population, and that the primary energy resources we use are not renewable or sustainable and won’t meet demands for the future. This unfortunately is the outcome of the world we live in where our methods towards sustainable goals are not truly consistent with the world we are currently living in. Trying to mirror Nature’s own ecological balance with the post-industrial philosophy we have created simply cannot work on entropic values, where increased activity leads to random and disorder. Unsustainable energy has been used to create unsustainable technological, and architectural innovations. I believe there is an opportunity in the future where we will see a third revolution occur. A revolution that is based on balancing the energy demands of our society with the energy resources that are inherently sustainable; - solar, wind, gas & hydro. The harnessing of our renewable energies can be aided by technology to be used as a tool for the solution, rather than as the solution itself. We know this model works, as we are already seeing a marked increase of these renewable systems in place. Portugal recently went 4 days straight running entirely on solar, hydro and wind-generated electricity, and Chile is literally giving away excess electricity gained from solar energy. We’re seeing renewable energy influence transportation, with electric cars, and enticing people to live entirely “off the grid”. This future “revolution” of renewable resources can change the thinking towards how we be build for our generation, using new systems of design rooted in sustainable energy creation and consumption within our built environment, and in turn impacting the ideologies of future

generations. The relationship between our cultural identity and the science and technologies will permeated into our architecture and these changes will present an exciting opportunity for the future. True sustainability as a solution should influence our design process and makes us acutely aware of every aspect of the design. If we can come to understand that sustainability is a process rather than an end product, we will be placing our value on the goal of being sustainable than finding sustainability. The process of the system integration is greatest when it is considered a process rather than a physical outcome. It is an intangible ethos that wields visible benefits years after its implementation. We must change our solutions to the problems facing this world; by changing the way we view the problems. To quote Albert Einstein: â&#x20AC;&#x153;We cannot solve our problems with the same thinking we used when we created them.â&#x20AC;? Possibly, with the greater implementation of renewable energy solutions, we will be creating balance that offsets the energy input over the energy output. It is our role as designers to understand this value and realize our opportunity to imbue a sustainable contribution to our world that will undoubtedly influence our generationâ&#x20AC;&#x2122;s culture and define our sense of identity... before its too late.

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Words by Hunter Eccleston Photography By Yaseera Moosa

Self-Sustainment

Is meditating the answer? Hunter dicusses the valuable productivity associated with meditating and finding inner calm amongst our busy lifestyles

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Who am I? Who are you? Who are we? When was the last time you took the time to ask yourself this? To really look at your internal identity that emanates into its physical form as a person. Busy lives, stress, anxiety; all factors of a lack for self-reflection, a consumption of the mind on menial tasks and day to day activities. Activities feeding the continuity, dysfunction and disconnection of people from the world. Essentially, it is a disconnection from nature and its gentle, pure form. How can a connection back to the environment we live be brought back? Planting trees? Laying in the grass? Smelling flowers? Yes… but no… For an enhancement of our worldly connection to our surroundings, we first must reconnect to ourselves.

Krishnamurti in his book The Impossible Question states how this reconnecting action occurs for re-establishing new systems: “…to bring about a different way of living is to bring it about not for others but for oneself; because the `other’ is oneself, there is no `we’ and `they’, there is only ourselves. If one really sees this, not verbally, not intellectually, but with one’s heart, then one will see there can be a total action having a completely different kind of result, so there will be a new social structure, not the throwing out of one establishment and the creating of another.” Firsthand experience of this stepping back from society and enriching an internal view of myself, embraced a spiritual journey. Meditation, yes

the unusual action people tend to undertake involving the disengagement from the outside world, breathing, and silencing all thought. The silencing of the mind is one of the many benefits brought on from mediation, as a somewhat cleansing of the mind and soul, clearing congestion and enabling peace with one’s self and with every part of the world we live. How can we design for ‘new’ sustainable systems, when we ourselves are not sustaining our own inhabitants? People tend to become condemned by society’s cocoon of normality, suppresed by the fear of not being a part of the ‘mainstream’. In some way or another everyone experiences fear, acting as an isolating factor in further outward expression of oneself. Meditation can be used as an effective tool to “un-cocoon” our inherint fears that attach themselves to us. As a designer I believe this is essential for our ability to carry on and flourish with what we believe.

Nghia. Nghia is a Vietnamese based architect and more commonly known as a bamboo architect with a drive to “bring nature back to the city”. His recent work brought him to Brisbane, with the installation of “Green Ladder” – a temporary bamboo installation at Brisbane’s state library. A Q&A session accompanying this lead to a marvellous insight into Nghia’s designing function. A personal recount into the early days of his childhood and the devastation as a result of war, forms the person he is today. An undertaking of 2 hours of meditation a day not only by Nghia, but his whole practice in Vietnam, allows creativity, productivity, peace and harmony with the natural environment. Not only this, but Nghia detailed of his coworkers having to engage in “tenday silence retreats” before even being allowed in his office. He also believes that one can’t properly design until they have properly felt this inward reflection undergone through meditation. Nghia also detailed that meditation gives us the potential to affect change by understanding the truth, as meditation is all about the truth, the truth of oneself and being able to properly connect to it.

A prime example of this self-wayfinding and mind-silencing can be exemplified in the works and ideas of Architectural designer Vo Trong

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Words and photographs by Yaseera Moosa

Sustaining History Yaseera Moosa observes George Town as part of her Architectural Field Work at UQ.

Penangâ&#x20AC;&#x2122;s capital city, George Town, is a melting pot of starkly different cultures, languages and religions that have coexisted for centuries. The cityscape is defined by endless rows of traditional Chinese shophouses and scattered with mosques, temples and shrines. In 2008 it was listed as a UNESCO World Heritage Site in an attempt to preserve not only the distinctive architecture of the city, but also the values that it manifests. Whilst legislation has protected much of the city from demolition, it has also contributed to a rise in tourism resulting in increased property values and commercialisation. Ironically, the very values that UNESCO intended to preserve are instead being evicted. In the context of globalisation and capitalism, can cultural value truly be sustained, or is gentrification and commercialisation inevitable?

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Words by Steve Szell Photography By Yaseera Moosa & David McEvoy

Integrity in Design How green is a design really when the focus is on the measurable sustainable outcomes instead of the integrity of sustainable practise? And how can our understanding of design culture affect this.

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When it comes to design and the topic of sustainability through design, there is a lot to talk about. On the surface there’s the use of materiality and “green” aspect we attribute to the design which gives the first impression of the degree of sustainability embodied in the project to the user. The next layer is how well the materials and overall design of the item actually performs to achieve the target goal set by the designer; the physical performance of the object in real time and long term coupled with the ethics of these choices. The third perceived layer to this is then the sourcing of materials and therefore the energy consumed to harvest/source, transport and run equipment required to produce the item, something you could call an invisible aspect of every project. There are many more layers to the topic of design and sustainability but these are the three overarching points of consideration which are generally addressed and considered in every project that aims to have a sustainable outcome. However the issue which generally arises with sustainable design (in particular architectural design), is the trade off which seems to happen between these three layers to achieve the final end product. The general interpretation is that the lack of sustainable integrity achieved in one layer of the project can be offset by a higher focus on the sustainable aspects of another layer. Say for example sourcing of materials like concrete and steel have huge amounts of embodied energy attributed to sourcing and producing them. The designer then factors this into the project and, in an effort to make up for the amount of energy expended to just get a workable product to the site, has designed the building to function as efficiently and as sustainably as possible given the climactic and contextual conditions.

The idea is that if the building performs better once complete then the amount of energy expended to produce it is then regained by the lack of energy required to operate the structure. The only issue is of course that there is allot of collateral damage that has already been inflicted onto the environment in sourcing these material. Not only that but the issue is exacerbated by the fact that these materials are produced in massive quantities irrespective of the specific project in question, so in reality the amount of expended energy and omissions to create the project aren’t accounted for in the buildings final resolution, they are lost in the greater scheme that is in play. Why is this an accepted model for producing large scale “sustainable” structures? Steel on its own requires a huge amount of effort and energy to mine and process the essential core materials to then produce the final product. Factor then in the amount of energy and omissions related to the transport of the material from it’s being mined to its deemed final destination and the expenditure becomes difficult to quantify in any meaningful way, let alone be accounted for by a clever louver shading system.

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When thinking about the practice of design and a model of sustainability there is a layer that is often overlooked and not considered beyond a superficial acknowledgment by the would be mentors. This is the actual teaching methodology and design culture that grows around and influences future designers who will and do make up the future environments we live in. Part of the issue stems from the unaccountability given students in their learning period, projects which call for more emphasis on the architectural language and poetry rather than addressing the impact the building has on the environment in a greater context. The post justification of “sustainable consideration” given to the project then carries on into practise with the then graduate, where rather than being in a hypothetical setting, the choices by the designer have very real outcomes with very real impacts attributed to them. It is a large stretch to say that this is a mentality issue that has arisen purely due to bad studio culture, but it is a commonality for students and tutors to follow precedents from what is happening in industry and as such produce a feedback loop within the discipline. We are what we perceive and a way to break this loop is to change the approach to projects and the outcomes to make the designers more engaged with the outcome they’re envisioning. One way of doing this could be to integrate “design and build” projects into the curriculum, or at the very least offer the opportunity for students to engage with them in their own time. The Dub has been fortunate enough to have 4 iterations of the Bambuild series which has been approached with a heavy emphasis on alternative building materials and techniques with /77

a specific focus on Bamboo. What we discovered and further drew emphasis to as the projects developed is the impact onto the students and how it had been effectively creating a micro community based around the project. The Bambuild is a student based competition allowing for the winning design to be built and showcased within the university to the general public for an extended period of time. The emphasis on materiality was a key focus of the build as, not only by just using a highly sustainable material like bamboo to produce the entire build, there was great emphasis placed on the amount of material used along with the joining methods being passive to allow for future reuse of the materials. This awareness of the materiality and as such the construction method used meant that the designs put forward where both highly inventive and creative while being highly considered for future use. It was not expected that the students have any experience with bamboo prior to the project aswell, meaning that there was an element of teaching which came into play to develop the conceptual proposals into a constructible item. The Bambuild was an essentially a very purist exercise in a “design and build” teaching, where students not only engaged with the bamboo with the mindset of future use but in the fact that every aspect of the project had the participants engaging with. The materials were harvested and prepped by students, the workshopping and design documentation was run by students, the construction and project management was run by students, the deconstruction was run by students and the material was taken off site to the next project by students. Not only was it almost entirely and exercise run by students wanting to engage with a sustainable project there was a very

beautiful thing that happened when the project took on its own life. While the project did have clear leaders and directors there was never a sense of hierarchy or detachment from the project by those involved. Everyone felt a sense of ownership over the project, regardless of their specific role or level of engagement and this meant that everybody took on their own sense of accountability to the project’s success and purpose. In reflection post build it was this personal accountability and ownership that proved to be key to the project’s success in maintaining its ethical integrity. The students also had become more aware of the amount of energy and time required to simply get the materials to site, let alone produce the structure. They were given an opportunity to engage with the various layers of sustainable design and as such produced a clearer picture in their minds of what good sustainable practise was about. Unfortunately however, through the industry the idea of sustainable practise has become diluted to a point that has developed and taken on these buzz words of “green design” and it is because that by failing to engage with all layers of sustainable consideration the designer becomes removed, and therefore unaccountable for the effects their choices make onto their environment. It is not a personal attack however, or a personal fault on the designer, as there are literally millions of things to consider when producing a modern day architecture. However by maintaining a passive approach to these issues there is no positive forward movement in regards to solving them.

Maybe though if the design culture that the designer was exposed to in their developmental years was different to begin with however, to give more accountability and more emphasis on exploring more sustainable methods of construction then there way of engaging or at least considering the issues present would be clearer. They may begin considering alternative options, say the exploitation of bamboo’s tensile properties (which rivals steel) in reinforcement of concrete. Maybe the designer would consider the potential to use a duality of materials, minimising the core structural materials to the essential beams and posts and then building on top with materials that have a temporary life span but are easily sourced and can be afforded with future uses post build thus allowing the building to be reorganized every so often. These suggestions are attributed to cultural shifts within both tertiary education and practise. The beautiful thing about it though is that a shift of design culture in the university environment will eventually resonate out into practise and as such into the real world.

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Words by Giselle Penny Photographs by Miranda Rielly

Communities in Changing Cities Giselle talks about how The Greens West EndWoolloongabba ward is creating a revolution for sustainable communities. This collective momentum and infectious energy could transform the way we live in our city.

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Sustainable communities self-manifest a quality of existence that nourishes and retains a diversity of people. It’s where an energy of interaction and cumulative thought contributes to those around us. Varying relationships and expressions keep people there - it doesn’t push out those who belong. These communities have a network of tangible and changeable systems that allow them to function: affordable housing, allowing people to live near where they work, different kinds of employment, public spaces - spaces where all people feel comfortable to be themselves. Opportunities swell up and then fade away but are soon reawakened again, there is rhythm and cycles that continue on. Communities know what’s right for them -and they can also see when decisions that immediately affect their environments have been made for external, corporate profits. The system is failing us. In Brisbane housing is currently unaffordable, while apartments are still being built in areas where the current communities can’t afford them. This is forcing communities to break apart and people to move away from their homes and the places they grew up. Gentrification replaces what was there, and apartments stay empty. Short-sighted disillusioned realities are constructed by those who are going to gain from this bubbled, over-smearing system. We need to take action and change the system. It may feel rigid and unchangeable, but that’s the way many people want it to appear. We have been put (and we’ve put ourselves) into a state of being that believes we don’t have the time to change our communities. But we do!

The West End-Woolloongabba Greens are harnessing the energy that’s already existing as a prevalent phenomenon, and they’re targeting it in a revolutionary way. They’re getting the community to stand with them and create a growing, collective swell of individuals with an encouraged mindset for change. They’re giving back people’s rights and abilities to directly influence their environments. The community has risen up with their energy, but we need to keep the momentum. Give the city to the people. We have a Right to the City! Sustainable communities need exciting leadership that tangibly connects to the people, rather than being in this “untouchable sphere” above the community. The Greens are this exciting leadership. They’re currently acting as the platform for engagement and a system-changer. They’re giving people empowerment to have not only a choice on how their environment changes, but also the opportunity to change it with their own hands and minds and collective skills. The Greens have already initiated community groups for changing policies, they’re putting forward alternatives to developments, organising community gatherings and rallies, and giving space and time to community groups for collaboration. Currently we’re finding that there are too many existing, deteriorating arrangements in place that disconnect people to their abilities to make change – especially physical changes to their environment and infrastructure. The Woolloongabba and West-End communities are seeing their urban environment changing drastically in time-periods that are unrealistic.

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Planning codes, council and developers are rattling their way through community spaces and existing commercial areas, without proper planning to insure new residential areas are supported with adequate infrastructure and public space. The ability for the public to make changes is currently distorted and blurred into a confusing haze controlled by whoever can afford to be in power. We need to give communities control and responsibility of resources to better improve their local environments. The Greens Ward are the only ones having constructive discussions with the public about affordable housing and housing for all. Effective policies for affordable housing need to align with strategies to make appropriate housing available for those who need it most. Theyâ&#x20AC;&#x2122;ve created productive groups of community members that discuss and form what these policies and strategies should be. Our built environment can be positively affected by the people, but they need spaces to gather to discuss these issues that affect them. Good planning, leadership, real community consultation and involvement. In our time of unrealistic housing costs and changing perceptions of residential architecture â&#x20AC;&#x201C; the existing typologies of stand-alone houses and shoe-box apartments are seen to serve corporate landlords who buy and sell for shortterm profits. Even the nature of the way people live in cities needs to change. Cities could easily tear us all apart,

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fostering an environment where change all comes from above. Regulations and requirements put in place that are giving us less and less rights and opportunities. The modern world is (either consciously, or coincidentally) creating an environment that is disconnecting people. The West End-Woolloongabba Greens realise that itâ&#x20AC;&#x2122;s vital now more than ever that people rise up and empower themselves. Sustainable communities can make great change happen; their capacity is indisputable. Giving time is the most vital ingredient. And collaboration. We need to start putting our time into the people around us.

Interview with Elia Roehr Photographs by Elia Roehr

Young Blood An interview with a very talented young artist and student from QUT, Elia Roehr

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Tell us a little about yourself..Where did you grow up? When did your passion for making and creating art start? I grew up in Auchenflower, Brisbane with my parents and sister Remi. My Parents are both architects so the house is beautiful but also a little mature for two little kids so I was always making things made inside because we didn’t have any outside area to play in. I always made very detailed little objects from paper like doll houses and later in school Art was a subject I did well in.

and I figure I might as well do it in a new location. Joining visual arts, textile design and graphic design would be the end goal. Can you tell us a little about your current work? Where have you been drawing inspiration from?

What drew you to studying a Bachelor of Visual Arts initially? I really couldn’t imagine studying anthing else, it was something I had interest in and understood for a long time. I also studied at Queensland academy for creative industries so I was already in Kelvin Grove and had friends in the degree so I new about the course. The Bachelor os Fine Arts (Visual Arts) really appealed to me at QUT compared to anywhere else because of its open studio, meaning we can focus on whatever medium we desire and can experiment with them all. When you finish your studies do you have a plan/ end game in mind? I say not at all but really it will be somewhere in the sector of Visual Arts. I am considering going to Melbourne or overseas to study a Textile Design course as it is limited where you can go

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I am very intrigued by translucent materials, their ability to take up volume but remain unseen as well as their delicate appearance grounds many of my material investigations. Often I use bold bright colours with these pieces that significantly contrast the effect, creating an interesting dialogue between synthetic and organic forms and processes. I am trying to just have fun with the work and take away often the very serious undertones work can have, particularly with the recent work “Saggy Tit” which identifies a titles possibility to alter the entire mood of a work. Constructed from sagging elastic tights, thread and faux fur the work has a visceral appearance, however combined with the title and elements of pink lipstick it becomes playful and less familiar. I am also very inspired from many other creative fields such as photography, graphic design and fashion, with different elements being introduced such as using textiles, waste products of fashion, digital manipulation, text and even typeface design.

In some of your recent work you’ve used fabrics and sewing techniques to create installation pieces. Can you tell us a little more about how you made these works and why you’ve chosen to install and exhibit them the way you have? At the moment I am exploring the forms made from textiles and looking at how you can construct altered realities of the natural and organic through industrial processes, like a sewing machine. Twisting the fabric in random shapes as it went through the sewing machine contorted the stitches and made them overlap and the fabric to bubble . My aim was to manipulate the direction of the stitch whilst maintaining an organic appearance. The stitches go across each

other and intertwine creating a moss like form. Due to the base organza fabric’s delicacy and translucency the work has been hung in a a draping form to indicate its softness but also to shine light underweight and the pink stitches to become shadowy, the pieces construction becoming known to the viewer. Are there any artists in particular that are influencing your work at the moment? At the moment I really admire Karla Black’s ephemera installations made from feminine but also everyday objects like makeup, creating a playful atmosphere that viewers want to engage

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with. Prue Stent, Lucy McRae and Mikala Dwyer have also been influences on my work, as they experiment like me with mass forms and gentle colours, however with a less serious side. How would you describe your aesthetic? It is hard to describe an aesthetic in art because we so little think of its overall effect but rather all the little elements that contribute, but I guess I would have to go for dark and electric with contrast of delicacy and delight. For those who don’t know, can you tell us a little about what Post Datum does? And your involvement? Post Datum is the Visual Art Collective of QUT and has been running for around 16 years. Each year it is run by second year visual art students and I was fortunate enough to be apart of it this year, alone with Phoebe Kelly, Jessica Enkera and Amelia Yates, who are all wonderful artists as well. We curate events and exhibitions that showcase student work, trying to encourage people to get involved and try to build networks. After the success of the Tender Turf exhibition at Hassell Architects, what else can we expect to see from you guys this year? We have only exhibited once this year but found it hugely rewarding and enjoyable. Tender Turf was a huge success for ourselves but also for the artists. Post Datum hopes to exhibit again before the year is up, perhaps a smaller exhibition in a new location but that still shows incredible student work.

Next year the committee will be formed from a new group of artists and we hope it continues the same sense of amibition that we have in it this year. What do you think it takes to go the distance and “make it” in the industry? What personal attributes might help sustain a long term career as an artist? It is very hard to say given that I am only second year and still discovering myself how to ‘make it’. I think really engaging with art and building a strong sense of knowledge can aid your career. Getting involved and participating with whatever you can, even if its just seeing an exhibition. Building connections and setting up a social media platform as the world is so digitally driven is certainly important too.

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