Design practices must lead the way in rethinking capitalism to save the planet (Dezeen)

The environmental crisis is rooted in the same systems of oppression as capitalism and colonialism. We cannot tackle one without addressing the other two.

I’m not suggesting that we shouldn’t exchange products or services for money, but we do need to adopt business models that put people and planet alongside profit – and fast.

Markets and trade have been around for thousands of years but capitalism is a more recent construct. According to Andrew Zimbalist, Howard J. Sherman and Stuart Brown, capitalism is “a system wherein the means of production… are privately owned and run by the capitalist class for a profit, while most other people… work for a wage”.

It relies not just on the exchange of sufficient goods to meet our needs, but on the generation of surplus – and that means taking more from the Earth than we need.

Western history books tell us that capitalism replaced feudalism and is the better system. However, they often omit the period between the two from 1350 to 1500 when, according to author of Less Is More Jason Hickel, former serfs built co-operative societies, producing what they needed on common land.

As peasants regained control of the land (as much as 90 per cent in Germany), they restored a reciprocal relationship with nature, reversing the deforestation, loss of soil fertility and overgrazing that had occurred under feudalism. But they didn’t generate a surplus for the elite, so something had to change.

In a process called “enclosure”, common lands across Europe were seized, crops burned, and millions of peasants forced away from their livelihoods. Across the Global South, land and bodies were “enclosed” at a much greater scale.

As Hickel explains, “the rise of capitalism in Europe… hinged on commodities that were produced by enslaved workers, on lands stolen from colonised peoples, and processed in factories by European peasants who had been dispossessed by enclosure… bodies were appropriated for the sake of surplus accumulation”.

Enclosure and colonialism caused a shift away from stewardship of natural resources towards control for profit. More efficient farms and plantations with less “wasted” land reduced biodiversity. When you understand that, today, Indigenous peoples comprise less than 5 per cent of the global population and yet protect 80 per cent of what’s left of Earth’s biodiversity, you start to see the enormity of tearing them away from the environments they nurtured for millennia.

Capitalism relies not only on surplus, but also on growth. In proto-capitalist models, profit was invested into non-productive ventures such as cathedrals or pyramids. Today it is poured into expanding production capacity and increasing profit, resulting in a feedback loop that requires more and more extraction, energy and labour.

It doesn’t take a mathematician to work out that infinite growth on a finite planet doesn’t stack up. We are using 1.5 times the natural resources Earth can regenerate every year, and according to the authors of Waste to Wealth, Peter Lacy and Jakob Rutqvist, that figure is set to double in the next decade. The energy required to turn these increasingly scarce materials into products to sell for profit almost always generates carbon dioxide.

We can’t keep generating more carbon while simultaneously reducing emissions by 45 per cent by 2030 to reach net zero by 2050. Meeting these targets – part of the Paris Climate Change Agreement – is vital if we are to avoid passing a series of irreversible tipping points towards systems collapse.

In his review of the first two volumes of research to come out of Rem Koolhaas‘ graduate seminar at the Harvard School of Design, philosopher Fredric Jameson said “it is easier to imagine the end of the world than to imagine the end of capitalism”. Twenty years on, we are confronted with our own extinction daily, so perhaps it is about time we start to imagine decoupling from a system that lionises surplus and growth at all costs.

Publicly listed companies are legally obliged to serve shareholders’ “best interests”, often interpreted as maximising profit. B Lab – the organisation behind the social and environmental certification, B Corp – is trying to change this. Certification requires changing a business’ “articles of association” to create a legal obligation for directors to consider the interests of all stakeholders, i.e. people and planet, not just shareholders.

The design industry is well-placed to lead the charge. From architecture firm We Made That to lighting restoration brand Skinflint, companies are already getting on board.

Cornish design brand Green & Blue considers nature its primary stakeholder, making habitats for solitary bees, birds and bats. Sebastian Cox makes furniture not based on market demand but on what can be made from the timber that comes out of woodlands managed for biodiversity.

Boardroom 2030 is a model that encourages this type of thinking. The idea is to invite different stakeholders – young people, employees, representatives from marginalised groups, members of local communities, even advocates for the more-than-human world – to take part in board meetings. Watching the Eden Project’s mock youth board meeting live at Cornwall’s Boardroom 2030 activation earlier this year, it was exhilarating to see the perspectives of experienced board members shift as young people posed new and difficult questions.

Creative thinkers within architecture and design practices have been challenging traditional business models for decades. Architecture studio RSHP is owned not by its founders or directors, but by a charity. It does make a profit, but everyone gets a share and donates 20 per cent to good causes. In 2007, the firm’s late co-founder Richard Rogers said: “A very major part of my architecture is about trying to create a world which is influenced for the better through public space and private space.”

Amsterdam-based New Heroes operates a model co-founder Lucas de Man describes as “a social-freelance organisation”, in which no-one is directly employed, staff choose projects and roles, there are only two pay grades and all are entitled to sick pay. De Man argues that this trust-based system is better for the environment because it promotes collaboration, diversity and innovation.

We have just eight years to avoid existential catastrophe. The question is not whether we have time to rethink capitalism, but whether we have time not to. Design practices must lead the way in putting people and planet alongside profit if we are to get through this decisive decade with any hope for the future.

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. She is also a Dezeen Awards judge.

To read the article at its source please click here.

Claire Ellis Makes Vessels From Waste Clay, Eggshells, Glass, and More (Circular by Design, Design Milk)

Claire Ellis is a Canadian-born ceramic artist and designer based in Naarm (Melbourne). While working as a chef at one of the world’s best restaurants in Naarm, Attica, Claire began making tableware for the tasting menu and created a ceramics studio within the restaurant. Claire left Attica to focus on ceramics full-time in April 2021.

Tell me a little bit about your childhood, education, and background in terms of how you first became interested in creativity, design, and sustainability. 

I grew up alternating between Ottawa and Winnipeg in Canada as part of a creative family. At various points in time, my mom had her own sewing company and worked as an artist using oil pastels. My dad built a lot of interesting things as a hobby. Most memorably, after taking a welding course, he built my younger brother a go-kart out of parts from a treadmill he found at the side of the road. My stepmom is a cellist and my sister studied architecture before becoming an art teacher. After graduating high school, I studied culinary arts and later moved to Australia for more experience. I was shocked by the amount of waste in many restaurants. I ended up at Attica in Melbourne where my informal ceramics studies on my days off alongside my involvement in menu planning meetings led me to create custom tableware for the tasting menu. My experiments using waste materials in ceramics began with eggshells and glass from the restaurant.

How would you describe your project/product? 

Solace Containers are wheel-thrown recycled clay vessels, glazed using eggshells as the source of calcium, lined with pools of recycled glass and finished with lids made from recycled plastic clay bags. The lids on the minimalist forms feature swirls of color which come from the colored print on the plastic bags which are kneaded, twisted, and stretched like pulled candy before being pressed into sheets.

What inspired this project/product?

Solace Containers were inspired by my experiments using waste in my two workplaces; kitchens and ceramics studios. I wanted to figure out how to use materials available in my environment that would otherwise get thrown away or shipped somewhere else. Partly out of a feeling of responsibility but also because I find it exciting to use local materials that have significance for me. The name of the containers came from my experience with climate grief and my desire to focus on solutions.

What waste (and other) materials are you using, how did you select those particular materials and how do you source them? 

The clay for the containers is reclaimed from my practice. I collect clay bags from my local ceramics community, the plastic adds up quickly and ceramicists are very happy for me to take it. I source wine bottles and eggshells from restaurants. Glass is made of a similar recipe to ceramic glazes and eggshells are calcium carbonate which is the same chemical compound as one of the common (mined) raw materials in glazes. The other glaze materials used for the Solace Containers are talc, kaolin, and nepheline syenite which are all mined derivatives of rocks. With more testing, I intend to replace those virgin materials with waste from other industries.

When did you first become interested in using waste as raw material and what motivated this decision? 

The first waste I became interested in using was food waste while I was working in kitchens. I saw bins overflowing with the best produce in the country in some places, but in other places, I saw how awareness and creativity could solve these problems and change the way people looked at off-cuts or by-products. I’m inspired to do the same. In my ceramics practice working with waste requires a lot of extra monotonous and time-consuming physical labor to process the materials, but because the work feels meaningful, I find it easier than doing more straightforward jobs that don’t align with my values.

What processes do the materials have to undergo to become the finished product? 

 The eggshells are dried, fired in my kiln to purify the calcium carbonate, ground in a pestle and mortar, and then passed through a fine sieve. The glass is smashed with a hammer after the labels have been removed and the shards are placed in the base of the raw-glazed containers before firing. To make the lids, the clay bags are washed and dried and any tape is removed. The labels are then cut off and separated by color. Bundles of the plastic bags are melted in an oven, kneaded, stretched, and twisted before being pressed into sheets. The lids and handles are laser-cut, polished, and attached together.

What happens to your products at the end of their life – can they go back into the circular economy? 

I offer repair and recycling services encouraged by discounts for products at the end of their life. The recycled plastic lids can be polished or recycled into new lids. Broken ceramic components can be repaired using Japanese kintsugi methods, and ceramic pieces beyond repair can be crushed into grog that I use to make clocks.

How did you feel the first time you saw the transformation from waste material to product/prototype? 

I was so excited. I didn’t know if any of my material tests would end up being successful. In particular, the tests with eggshells and plastic took a lot of tweaking and troubleshooting which made it so rewarding when I saw everything come together for the first time. The Solace Containers have come about from slowly putting together pieces of a puzzle one by one. Finding each piece has been a thrill.

How have people reacted to this project? 

When people see the Solace Containers for the first time, they’re surprised about the materials and curious about the processes. They expect the lids to be made of resin or stone. I’ve had some really encouraging responses, especially from other ceramicists who are grateful and delighted to see something creative being done with the clay bags. A bonus for me has been meeting other makers through the bag collections, which have turned into a lovely community-building opportunity.

How do you feel opinions towards waste as a raw material are changing? 

I think opinions are changing a lot through conversations that suggest that we find a better word for waste and what that implies, for example your thought-provoking podcast episode with Seetal Solanki. It’s exciting to imagine a time when we all see waste as a resource and it gets called something else because we stop wasting it. Hopefully, we get to that place quickly.

What do you think the future holds for waste as a raw material? 

I think waste will eventually get a name change and will become a more mainstream material. I think there will be regulations in the future on using unsustainable raw materials and it will become the norm to use waste or biodegradable materials. I think younger generations especially will focus more on solving these problems and over time recycling and upcycling will keep getting easier, more efficient are more accessible. I also think there will be more BIPOC and LGBTQIA+ people in leadership positions who will accelerate positive change in this space.

To read the article at its source click here, or find out more about Claire Ellis here.