Initially presented as Kiki’s final thesis project at the Central Saint Martins, the Rewild The Run trainers were also showcased at the 2023 Milan Design Week, where they garnered considerable attention. It’s easy to see why.

Sporting thick electric blue soles with a mesh of curling spikes meant to mimic the hooves and fur of animals, Kiki’s creation is both futuristic and timely. In recent years, design has been entering an era of prioritizing eco-consciousness, with designers frequently incorporating biomimicry or utilizing ethical, ‘green’ products. Architectural design has also witnessed a shift, with architects and city planners increasingly emphasizing green spaces that restore lost biodiversity, and aim to nurture mankind’s strained relationship with nature due to rapid urbanization—a phenomenon known as urban rewilding.

The Rewild The Run trainers converge these two trends, with a design based on biomimicry and an intent to foster the human-nature connection. These trainers offer a glimpse into what the clothing of the future could look like.

Urban rewilding plays a significant role in the design of these sneakers, as Kiki aims to democratize rewilding efforts. Much like city planners advocating for more rooftop gardens, green corridors, and parks to promote biodiversity, ecosystem function, and the persistence of native species, the Rewild the Run trainers allow people to contribute to rewilding efforts by sowing seeds as they run. The soles of the trainers mimic the mechanism of epizoochory, which is essential to the dispersal of seeds by animals.

We recently had the pleasure of interviewing Kiki on her design journey, Rewild the Run trainers and her take on urban rewilding.

An intent of your Rewind the Run trainers has been to connect humans to the natural world. What is your personal connection to nature?

My personal connection to nature was deeply rooted in my upbringing and background of Greek heritage, a country that has a strong tradition of living in harmony with its nature and agriculture, eating seasonally, and respecting the natural cycles of the earth.
However, it was during the COVID-19 pandemic that I truly re-appreciated the importance of our connection to the natural world. The lockdowns and social distancing measures brought a stark reminder of how essential nature is to our well-being.

Can you tell us a little bit about your design journey? Did you always know you would work on eco-conscious designs?

My design journey has evolved significantly over the years. I grew up wanting to become an automotive designer, however, studying Industrial Design at Central Saint Martins shifted my focus towards product design in fashion accessories. Post-university, and despite working for 4 years in industry (within some sustainability projects), the waste and impact caused by us as designers and by the industry as a whole became evident, prompting me to return to Central Saint Martins to pursue an MA in Material Futures.
This course allowed me to further explore and re-learn to design in a more eco-conscious way. While I didn’t always know this would be my path, witnessing the need for sustainable practices led me here.

How significant is biomimicry in your designs? Is this a field you would want to explore in future designs?

While working on ‘Rewild the Run’, I concentrated on designing a mechanism for the trainers to ‘pick up and disperse seeds’ (epizoochery). I began by attaching Velcro strips to my existing shoes to observe what kinds of foliage I collected during my walks and runs. This experiment reminded me that Velcro is an example of biomimicry, which sparked my interest in exploring how biomimicry can be utilized as a design tool, particularly for environmentally focused projects, although it has become an incredibly useful tool to use for all design too.

How do you balance wearability with eco-consciousness in your designs? What approach do you take to create products that are both commercially successful and beneficial to the world?

Balancing wearability with eco-consciousness in my designs involves finding the equilibrium between sustainability and appeal. A significant part of this process is creating a conversation around the sustainability of the product, whether through the use of bio-materials or by highlighting environmental issues. At the same time, it’s essential to design products that resonate with a specific market or community without alienating them. By embedding eco-conscious design and manufacturing decisions into the product, we are able to create items that are both commercially successful and beneficial to the world. This approach not only makes the products appealing but also promotes environmental awareness and responsibility among consumers.

How did the initial concept for the Rewind the Run trainers come about? Can you tell us about the process you went through when developing the design.

The initial concept for the ‘Rewild the Run’ trainers emerged from my fascination with how keystone species contribute to rewilding, specifically through a process known as epizoochory. Epizoochory refers to the dispersal of seeds that become attached to animal fur or feet. I was inspired by this natural mechanism and wanted to replicate it in a wearable form.
To develop the design, I began by studying the textures and patterns that facilitate seed attachment in nature. As mentioned earlier, Velcro, a form of biomimicry, played a significant role in this process. The invention of Velcro was inspired by how cockle-burrs stuck to George de Mestral’s trousers and his dog’s fur, thanks to their tiny hooks. Drawing from this, I designed textures that mimic the seed attachment capabilities of plants like the cockle-bur and the grapple plant.
The specific texture on the ‘Rewild the Run’ trainers combines elements from these plants to create an effective epizoochory-inspired pattern. The chunky, platform-like outsole was inspired by the hoof of a bison, a keystone species known for its rewilding impact. However, I aimed to blend these natural inspirations with a digitally-led, futuristic aesthetic to create a unique and functional design.

Are there any further developments that you made to the trainers or are currently researching?

Yes definitely! This project started as a thesis project for my masters, so naturally the outcome has been quite ‘conceptual’ so to speak. I am researching and developing how to integrate the concept of Rewild the Run in a more commercially viable and wearable manner, whilst still taking into consideration the ecological and material limitations when working on a sustainability project. So basically, more to come!

Let’s talk about urban rewilding. Most people think of this concept as being relegated to architectural design and as the responsibility of policy makers, city planners and so on. Your Rewind the Run trainers subvert this belief by showing how everyone can contribute to urban rewinding efforts. How would you define Urban rewinding?

Urban rewilding, by definition, aims to restore natural processes and reintroduce nature on a city-wide scale. While it’s encouraging that policy makers and city planners are focusing on this, I wanted to democratize urban rewilding with these trainers. This project brings the concept to a smaller, more local level, emphasizing our often-limited connection with nature in urban settings.
Our awareness of natural systems is particularly fragile in cities, so engaging individuals through fashion and sport provides a unique opportunity for personal involvement. By allowing everyone to contribute, we can foster a deeper relationship with the wild in our cities and enhance our collective impact on the environment.

You were living in London when you designed and launched your ‘Rewind The Run’ trainers, do you think it’s a city that aligns with your design philosophy in urban rewilding? Are there aspects of the city that particularly support or challenge your approach?

Yes and no. London has recently seen many amazing and even radical urban rewilding efforts, such as the introduction of beavers in Greenford, West London. These initiatives are wonderful to witness and definitely align with my design philosophy. The city’s numerous parks and green spaces have made it particularly suitable for ‘Rewild the Run’, as the trainers can facilitate seed dispersal while running through different green areas.
However, like any urban environment, London has experienced significant damage to its local ecology. This presents a challenge but also an opportunity. It’s become crucial for us to advocate for greener urban environments, no matter which city we are in, so, by encouraging individual involvement in rewilding efforts, I believe we can collectively contribute to restoring and enhancing our urban ecosystems – whether that’s London or anywhere else.

What role does educating consumers on urban rewilding and ecological crises play in the planning and design of your work?

A very important role. I recognize that there isn’t necessarily a need for new trainers in the world, but the idea of using a product, like running trainers, as a means of active participation in a broader rewilding effort is an important message I want to convey.
By integrating this concept into ‘Rewild the Run’, I hope to inspire consumers to think differently about their purchasing decisions as it is vital that people consider the wider ecology and environment when buying clothes, shoes, or any other products. My goal is to encourage a mindset shift, where consumers are more aware of their impact and more motivated to support sustainable and ecologically responsible choices.

Studies have shown that jackets and socks can unwittingly display the mechanisms of epizoochory. Do you have plans to expand the design principles used in your Rewind The Run trainers to other apparel?

Indeed, it gives me a lot of joy when I find little seeds clinging to my socks or jacket during a walk! For now, my focus remains on shoes and refining the concept of rewilding through footwear. I’m collaborating with experts and designers to perfect this approach and make it as effective as possible. However, the principles used in ‘Rewild the Run’ trainers certainly have the potential to be applied to other apparel in the future. So, who knows? Watch this space!

Circular Design: A New Blueprint for Sustainable Living  

Circular design is an approach where every aspect of a product’s life is considered, ensuring minimal waste and maximum resource efficiency. For centuries, human consumption has largely followed a linear pattern: extract resources, make products, use them and then discard what remains. Now, as environmental pressures intensify, an alternative model known as “circular design” has begun to shape conversations on how best to create a more sustainable future. At its core, circular design aims to minimise waste and maximise resource efficiency by rethinking every aspect of the product or system lifecycle. It challenges designers, manufacturers and consumers to consider how materials are sourced, how easily products can be maintained and repaired, and how they might be disassembled or recycled once they reach the end of their usefulness.

Crucially, this method emphasises the entire lifecycle of a product: from the extraction of materials to the potential regeneration of those inputs at the end of the line. It insists on using sustainable materials—preferably renewable or recycled—to reduce our dependence on virgin resources. Essential too is the idea of “designed longevity” through repair and maintenance features that can keep products in circulation for as long as possible. Modularity and adaptability follow naturally from this principle, with components that can be upgraded or replaced without discarding an entire product. In industries ranging from fashion to technology, this has led to fresh thinking about how items can be taken apart and recycled or transformed when they’ve reached the end of their primary life. Ellen MacArthur’s work on the circular economy has been instrumental in popularising these ideas, illustrating how a closed loop of material use can reduce waste and cut costs in one fell swoop.

Although the concept can trace its philosophical roots back to the resourceful practices of ancient civilisations, modern circular design gained significant traction in the late 20th century. The publication of Cradle to Cradle: Remaking the Way We Make Things by William McDonough and Michael Braungart in 2002 offered a framework for continuous product life-cycles and showcased real-world examples of how designing from the start with end-of-life recycling in mind could reduce environmental harm. Around the same time, Denmark’s industrial symbiosis in Kalundborg demonstrated that seemingly disparate factories could share waste and by-products with mutual advantage. The Ellen MacArthur Foundation formalised many of these early ideas into actionable strategies from 2010 onward, effectively showing governments and multinational corporations alike how a circular design strategy might look in practice.

Figures compiled by the World Economic Forum suggest that fully embracing a circular model could add around 4.5 trillion dollars of economic output by 2030. It’s a huge sum, yet not surprising when one notes that an influential McKinsey & Company study estimates that 80% of all product-related environmental impact is determined at the design phase. The ability to shape how we extract, use and eventually dispose of resources lies firmly in the hands of those who first sketch out a product. Equally striking is the UN Environment Programme’s calculation that materials extraction and processing are responsible for over 20% of global greenhouse gas emissions, a number that underscores why designers who start with circular principles can be genuine game-changers in the fight against climate change.

Circular Design Success Stories

The momentum building around circular design can be felt across industries. Fashion labels are unveiling jeans stitched in such a way that zips can be replaced easily, electronic manufacturers are offering modular smartphones that allow consumers to upgrade cameras or batteries, and entire communities are emerging to share and redistribute items that might otherwise be thrown away. It is an approach that looks beyond mere aesthetics, focusing on longevity, adaptability and the long-term impacts of what is created. At its heart is the premise that if we align design with ethical and ecological imperatives, then prosperity need not come at the expense of the planet.

Anyone wishing to explore these ideas in more depth can find illuminating insights in several books. William McDonough and Michael Braungart’s Cradle to Cradle: Remaking the Way We Make Things remains an essential starting point for understanding continuous lifecycle thinking, and their sequel, The Upcycle: Beyond Sustainability—Designing for Abundance, delves further into the philosophy of upcycling.

The Ellen MacArthur Foundation’s Circular Design for Fashion provides a detailed look at how designers can transform one of the planet’s most polluting industries, while Designing for the Circular Economy, edited by Martin Charter, collects case studies illustrating practical, hands-on techniques for driving circularity across multiple sectors. Finally, Yvon Chouinard’s Let My People Go Surfing may not deal solely in circular design, but it offers a candid account of how Patagonia interweaves environmental responsibility with commercial success—proof that ethical manufacturing and sound business practice are far from incompatible.

Fashion: Leaders in Longevity and Innovation

The fashion industry has long been synonymous with waste, yet a growing number of brands are rethinking their practices to align with circular principles. Eileen Fisher stands out with its innovative Renew Program, which invites customers to return worn garments. These pieces are then cleaned, repaired, and resold or upcycled into entirely new designs, demonstrating that high-quality craftsmanship can enjoy a second—and even third—life. Similarly, Patagonia has revolutionized outdoor wear with its Worn Wear Initiative, a repair-focused approach that includes mobile vans, online tutorials, and in-store services. These efforts encourage customers to fix their gear instead of replacing it, proving that sustainability and customer loyalty can go hand in hand.

Elsewhere, Stella McCartney has been a trailblazer in luxury fashion by incorporating Mylo, a leather alternative derived from mycelium, and focusing on regenerative materials in her collections. Her designs demonstrate that high fashion can—and should—embrace materials that align with the natural world’s cycles.

Furniture: Building for a Circular Future

In the furniture sector, Herman Miller has led the charge with its Design for the Environment protocol. Their iconic Aeron chair, for example, is a marvel of circular design. The chair is easy to disassemble, ensuring that individual parts can be repaired, replaced, or recycled at the end of its life.

Boutique brands like Vestre, a Norwegian outdoor furniture maker, design their products with longevity in mind, using modular components and sustainable materials that align with the principles of circularity.

Industrial Design: Creating Systems That Last

Industrial design has seen some of the most innovative applications of circular principles. Philips Lighting has pioneered the “pay-per-lux” model at Amsterdam’s Schiphol Airport, which keeps the company responsible for maintaining and recycling light fittings. This approach ensures that the products stay within a closed loop, promoting efficiency and minimizing waste.

Tech companies like Fairphone are also making waves. Their modular smartphones allow users to replace or upgrade individual components, such as cameras or batteries, without discarding the entire device. This approach not only reduces electronic waste but also empowers consumers to make more sustainable choices.

Architecture: Designing Regeneration

Architecture, by its nature, is an industry of long-term impacts, making it a vital area for circular innovation. The architect William McDonough, co-author of Cradle to Cradle, has been a leader in regenerative projects. His buildings often incorporate water-reuse systems, renewable energy sources, and materials that can be repurposed at the end of the structure’s life.

In Amsterdam, the Circl Pavilion exemplifies circular architecture. Designed with demountable parts, the building can be deconstructed entirely, ensuring its materials remain in use rather than becoming waste. The structure also uses recycled materials wherever possible, setting a new benchmark for environmentally conscious construction.

It is no exaggeration to say that the principles of circular design are changing the way we think about production, consumption and waste. Instead of one-way journeys that end in landfill, we have the possibility of creating real closed loops where resources remain in use for as long as possible, and where the notion of “throwing away” looks increasingly outdated. By paying attention to an item’s entire lifecycle, using materials that can be reused and integrating repair and maintenance at every stage, we stand a much better chance of living well within our ecological limits. And it is precisely this sense of possibility, of designing a future that provides both prosperity and environmental health, that continues to galvanise business leaders, environmentalists and creative thinkers worldwide.

Courtney Mattison is an American artist and marine activist working with ceramics to raise awareness about coral reefs and climate change. Using clay as her medium, Courtney Mattison creates intricate ceramic sculptures on a large scale. These pieces are informed by her background in ocean conservation science and policy. You can find Courtney’s pieces all over the world, from Indonesia to California.

What is the state of coral reefs at the moment and why do they need help? 

Coral reefs are extremely important to the health of the ocean and they’re also extremely sensitive to changes. And for that reason, with climate change and more extreme temperature changes and weather events, coral reefs are increasingly threatened. A lot of marine scientists have stated that they don’t expect coral reefs to be a functioning ecosystem by the end of this century, which is really scary.

Is this a big topic of conversation where you’re based in San Francisco?

Yeah, definitely. I think climate change in general is something that people in the coastal cities of the US are really focused on. America is famous for having sceptics about climate change, but here in San Francisco, it’s much more progressive and a lot of the people here believe in science and understand what’s going on in the world. It’s something that I hear a lot of people talk about and people are extremely mindful of their impacts on the environment and their ways of influencing corporations and governments to turn things around with climate change. 

I focus on this because climate change really is the biggest threat to coral reefs. I think there are other major threats like overfishing, commercial fishing, pollution and things like that. But climate change is what’s really devastating reefs around the world, way more quickly than anyone expected, because they are so sensitive to those temperature changes. Also, carbon dioxide dissolves into the seawater which makes it more acidic. So it’s a double whammy, dissolving them and suffocating them at the same time.

And has your art always been on coral reefs or climate change? 

It’s kind of my muse. I grew up in San Francisco and we don’t have tropical coral reefs right off the coast here, but I was always really fascinated with the sea and I started exploring tide pools and studying marine biology as a teenager.

As soon as I really dove in and became fascinated with marine life, I wanted to sculpt them. I felt like it was a way for me to connect with corals differently, and to understand the anatomy and structures of these creatures. Corals are animals, but they don’t have faces and they’re colonial and there are just so many weird aspects to marine invertebrates that I find fascinating. So to me, they seem really sculptural and it’s always been a natural way for me to celebrate and explore them. 

Was there a light bulb moment where you decided this was what you were going to do with your life? 

Yeah, I trained in marine science and art, so I was straddling these two disparate fields for most of my education. My formal education mostly focused on marine biology so I did think about becoming a marine scientist, but then I realised that if I was strictly a scientist, I would be throwing away a lot of this passion and the skills that I had developed in sculpture. I would also be throwing away my voice because scientists have to remain so neutral to collect data and publish studies.

I didn’t feel like I would have enough of an outward-facing voice to advocate for conservation. So that’s why I became an artist professionally. And now I work full time as an artist and I use that background in science to inform my work.

Can you tell me more about how your background in marine biology informs the work and how it influences what you do? 

I studied marine ecology and I focused on coral reefs. I did fieldwork in Australia on the Great Barrier Reef, and I’ve been scuba diving since I was 18. So I’ve been really lucky to go around the world to different tropical marine regions and other places and to see some of the healthiest coral reefs that we still have on our planet. And there are still some really healthy coral reefs that are possible to protect and worth saving. So all of that knowledge, both from the ecology side, the taxonomy side, but also the environmental kind of conservation world, that all informs my work.

I really want the people who see my work to fall in love with coral animals the way that I did because that’s what inspired me to want to act to protect them. So I really hope that my work can bring that alien exotic beauty above the surface for people to appreciate, even if they’re not able to put their faces underwater themselves. 

So is that the aim of your work? What reactions are you trying to inspire? 

I try to encourage people to protect the corals in a gentle and personal way. We protect what we love, and we love what we know and understand and feel familiar with.

The ocean is a dark, mysterious and scary place for a lot of people. I want to help people understand it in a different way and I think art has an immense power to shape how we understand the world. By portraying these coral reef ecosystems in kind of fantastical, colourful, beautiful ways, I try to celebrate them and invoke emotions and individuality so that people might become more curious. I think it has to be a really personal exploration because that’s the only way we’re going to feel truly motivated to make long-lasting change.

What’s the process behind your creations? 

A lot of my work uses similar themes. Because coral reefs bleach white, I think that’s a really stark way to visualise climate change. So that’s a theme that I explore in a lot of my work. Corals are not necessarily as colourful as what you see in my work. But I like taking an artistic licence and not being completely realistic because it’s more about evoking that sense of wonder. 

When I come up with my designs, a lot of them are swirly and evoke ideas of weather patterns or just changing places. The swirling forms are kind of anti-gravity, elevating the reef off the seafloor and putting it into space where its fate is up in the air. So conceptually, to me, the fate of coral reefs is in our hands, and we get to decide if they’re doomed or not. I think having work that swirls from colourful to bleached or maybe the other way around is up to interpretation for a lot of people. 

In terms of my actual sculpting process, when I come up with a design like that,  it looks very freeform, but it’s actually extremely meticulously planned out. I know where every single piece of hardware is going to go on the wall before I start building a single piece. So I map everything out first on the computer and then I create a full-scale map on the floor of my studio. I build each piece in relation to each other, so it’s really like a big three-dimensional puzzle. So it’s really meticulous, takes tons of planning and sometimes the installations that I do are many metres high or require a lot of logistical strategies to install them.

How does it change depending on the place where you’re going to show it or the exhibition? 

I do a lot of site-specific work that is commissioned for permanent installation and integrated into the architecture of an office building or a hotel or something like that. I like working really big because I think that gets people’s attention and it brings up this idea of one small person creating something really enormous which is a metaphor for the impact that one person can have. So I do try to focus on really large-scale stuff. But I also do some residential commissions.

I also show in museums around the world and things like that. It’s fun to do site-specific stuff because I can kind of integrate it into the architecture and respond to how the light moves through a space.

Do you get to see the way that people react to it? Have you had a response that really stood out to you and touched you? 

Sometimes I’ll go into a place where my work is installed and just pretend I don’t know what I’m doing there. But I don’t get to do that very often. There have been a couple of times when I’ve seen someone have a really emotional response, and maybe tear up. That has been really important to me as motivation to keep going.

You see a lot of cynical stuff when you’re in a museum show. You sort of overhear comments and you don’t know if it’s actually getting through to people. But seeing little glimmers like that is really, really lovely.

Do you find it difficult to stay positive?

Yeah, definitely. I’m not naive and I understand the science behind all of it so it is really hard to stay positive sometimes because things really aren’t looking good for coral reefs. They’re not going to disappear altogether because certain coral species are resilient and they’re going to persist like weeds in a garden. But the beauty and the value of the coral reef come from diversity and redundant species that help each other out or compete with one another in important ways. So if a number of those species go extinct or disappear in certain areas, they just won’t function in the same way. So it is really hard to know what’s happening.

I think the way that I stay positive is through interacting with people who are moved by the work and are using that to do their own things that can help. But also by visiting reefs that are still really healthy. I try to get back in the water at least once a year and see a healthy coral reef because they are still out there.

Why do you choose to show coral reefs through clay? 

It started out as a medium that was available to me. I had used clay before and there was a ceramic studio at my high school. But once I started working with it and really learned what reef-building coral does, I realised that calcium carbonate is what corals essentially sculpt their skeletons out of. That’s a material that’s limestone essentially, and that is really common in glaze materials so there’s sort of a chemical parallel between my work and real corals.

There’s also this sense of fragility that is really undeniable. So conceptually that sense of fragility is really important in my work. But you can imagine that porcelain and anemone tentacles are extremely fragile. Making something with clay is so difficult, it takes a lot of patience and troubleshooting. Ceramic is not a friendly material at first, because everything is so fragile. But if you handle everything properly and you protect it at certain stages of the production process, it’s actually pretty resilient. 

What’s the most difficult thing in the physical design process? 

I think there are certain challenges that are related to working with design-build teams. When I’m doing a big project for an office building in an earthquake country, for example, there is a risk with installing the work. I’ve had some really interesting experiences working with engineers and architects to fine-tune the attachment methods that I use and really make sure that my work is going on the wall securely in a way that’s not going to kill somebody. Packing and shipping artwork like this is also really challenging because it’s so fragile. I work with professional art handlers to pack all my work now.

Have you had any projects that you’ve particularly enjoyed or that have touched you in a certain way? 

There are a couple of projects that I’ve done that are in Indonesia that are extremely meaningful. There’s also a project that I did for the Coral Triangle Centre in Bali that is a community project. So I didn’t sculpt everything myself, we actually worked with a team of around 200 volunteers, artisans and marine scientists and everybody got together and sculpted ceramic corals. We ended up installing about 2,000 of them on a wall in an installation that I designed for the Centre for Marine Conservation in Bali. So that was a really fun one. 

The other, the biggest work that is also in Indonesia is at the U.S. Embassy in Jakarta. That was a commission that I created myself, and it’s absolutely enormous. It’s a big, swirling wall installation that is in the kind of atrium of the embassy building. And that one’s called Confluence, and it’s part of my Art Changing Seas series.

So you have exhibitions literally all over the world? 

Yeah, I just completed one in Capri in Italy. That one is a brand new one that I am hoping to be able to share photos of soon.

Can you tell me about the sustainability aspect of your work? 

Obviously, it’s coming from the environment and it’s a natural material. I try to be mindful of where my materials are sourced and I buy all my clay in the state of California. So it’s all made, you know, within the state. So it’s relatively local. I try to do the same with my glazes. I am very mindful of resource use in general. I think water and electricity are big resources that I have to think about because I have electric kilns in my studio and water is required for all kinds of steps of the fabrication process. So I try to limit resource use.

But, in terms of environmental impacts and climate change, there’s often an imperative put on individuals to focus on their own impacts, but that often distracts from the focus on big corporations and policymakers that really make the outsized impact on these environmental issues. A lot of the work I do is trying to remind people about the advocacy work that we can do to raise awareness and push for reforms on a bigger scale instead because it’s always the individual who gets the blame, not the massive companies.

If you could tell people what to do to help the situation what would you say? 

I think the biggest thing any of us can do is what we are uniquely skilled at. I got some really interesting advice when I was first starting out from an author and marine scientist named Carl Cicina. He said, do what you can uniquely do to make a difference, and I think that refers to the personal impact that I was talking about. Each of us has to feel personally inspired and motivated in our own way to do whatever it is. It could be advocacy, policy change, research, Marine science or social science. There are so many facets to the problem and to the solutions, and we need to come up with creative solutions in order to fight climate change and also reduce the other threats that are on coral reefs. So coming up with new ways to develop and promote renewable energy is a big one. 

I think there are so many exciting things that all need to happen at once. And so we need everyone to feel excited about doing their own part of that process.

And what do you think the situation will be in 10 years time? 

I think we’re going to see a lot more bleaching events. Every summer is the hottest summer on record now. But I also think there’s so much awareness growing really quickly among young people. So it makes me hopeful that there are a lot of young people who are becoming really passionate about demanding change.

I think technology is going to play a big part in it. I think we’re way more connected now than we used to be, and that’s only going to keep growing. And so I think it’s possible to hold people accountable in new ways, and I can only imagine where that’s going to go in the next 10 years. So I’m cautiously optimistic. 

Philipp Hainke work employs a circular approach, specialising in sustainable product development His project, ORGANICO explores hemp’s potential as a renewable resource for circular materials. Through the use of a self-developed bio-adhesive, Hainke transforms hemp fibres and shives into a stable yet lightweight material. The result is an aesthetic design that showcases the transformative power of technology, while preserving the archaic nature of the material. His work advances sustainability by reimagining materiality and reshaping product life cycles. Philipp has been internationally recognized, earning awards such as the Green Concept Award, Materialica Award, and Salone Satellite Award.

Interview with Philipp Hainke

Can you share your experience with using hemp as a material for furniture in your projects? What initially sparked your interest in incorporating hemp into furniture designs?

The starting point for this long-term project was the search for non-harmful, biological alternatives to petrol-based binders like Epoxied-Resists and Polyurethanes. Therefore, the material landscape before 1930 was the field of my research, and here is traditional glue.

In today’s industry, it’s common to use binders with fibres, the most prominent examples might be glass- or carbon fibre. However, flax and hemp are used due to their good technical properties, but mainly in non-visible parts. To decrease the amount of binder in volumetric parts, it’s common to use filling agents, and here the hemp hurds, also known as hemp shives, caught my attention. This foam-like material is the core of the hemp plant. It is a by-product of the (hemp) fibre production and comes as flakes.

Can you walk us through the specific project/s where you utilised hemp, detailing the process and the final outcome? What makes this project stand out?

I’ve been experimenting with bio-composites since 2013. During my studies at the University of the Arts Berlin, I decided to dedicate my Bachelor’s degree to deeper research into biocomposites. The outcome of this work is ORGANICO. A versatile material based on hemp and a self-developed bio composite that utilises plant-based bio protein as a binder.

What specific properties of hemp make it an appealing choice for furniture design? How does the use of hemp in furniture contribute to the overall aesthetic and feel of a piece?

The hemp fibres are durable, it was not without reason that sails and ropes were made from it. In combination with the hemp hurds, I manufacture bio-lightweight objects. Depending on the method of pressing the parts, the aesthetic can vary from a raw organic texture to a technical surface quality. But all pieces share one – not so obvious – feature, their healthy smell. I think we all know the smell of cheap plastic. If I needed to imagine some opposite of this smell, it would be the smell of ORGANICO. It reminds me of the fresh hay stacks of my childhood.

From an environmental standpoint, how does using hemp in furniture align with sustainable design practices? How do clients respond to the sustainability aspect of hemp in furniture, and is it a factor in their decision-making?

My wood-free product mainly consists of plant material which functions as a carbon storage as well. The vegan adhesive is free of conventional binders, resins, or bioplastics such as PLA. While many projects focus on highly processed mono materials, ORGANICO is made of up to 90 % raw natural hemp. This fast-growing plant can be cultivated on practically any soil and, in addition to its good technical properties, also offers a remarkable amount of positive ecological cultivation aspects, such as pest resistance. Thanks to the lime used in the adhesive, the material is naturally protected against fungal and pest infestation. Depending on the application, it can be insulating, light, flame-retardant, water-resistant, or it can combine these properties. After its life cycle ends, the entire part can be returned to the biological cycle without causing any harm to the environment.

What advice do you give to clients regarding the maintenance and care of furniture made from hemp? Are there any misconceptions about hemp furniture that you find important to address?

I don’t think it’s possible to generalise “furniture made from hemp” in a way that would make it possible to give universal advice here. Talking about ORGANICO, it can be seen more as wood than as fabric. The objects are flame retardant and can resist water for a short period. Crucial parts are the corners where you face the partly untreated fibre, which is a potential weak point and has to be treated more carefully.

Are you seeing an increased demand for furniture made with hemp, and if so, what factors do you attribute this to? How do you stay updated on market trends related to hemp in furniture design?

I’m not sure if I would limit the field to hemp alone, but you can see that there is a general trend in alternative material and alternative material streams. This is a healthy trend, but of course, there are players in the market who try to benefit from this development without risking big investments.

How do you source hemp? Have you collaborated with hemp producers or manufacturers to source materials for your designs?

In the beginning, I tried to build a direct connection to a local producer in the surrounding area of Berlin but came into some trouble with changing material properties. By now, I’m sourcing most raw materials from a provider for construction materials. The benefit here is that you always receive the same material quality.

Where do you envision your products being displayed?

ORGANICO has already been shown in many exhibitions, including the Salone del Mobile in Milano, the IMM in Cologne and the Global Grand Show in Dubai to name a few. It would be great to see ORGANICO applied in the mobility sector because this industry has the financial freedom and innovative mindset to grow a concept further. I could also imagine a collaboration with a brand like Nike or Patagonia to be displayed in a flagship store.

Where do you see the future of hemp in furniture design heading? Are there emerging technologies or processes that you think will further enhance the use of hemp in furniture?

Certainly, we will see a more diverse material landscape in the furniture industry. We have a major need to reduce the carbon dioxide emissions and/or capture it from the atmosphere. Since plants are natural carbon storage, I see a huge potential in this field. As a one-year crop, hemp is not only growing relatively fast, but it is also very resistant and grows even on poor soils which allows the cultivation without any pesticides. I see huge potential in a combination of high-tech and low-tech, like I tried to examine with ORGANICO.

FASCINATION WITH NATURE

Having had the opportunity to meet Ansel Adams in his early teenage years, taking part in a workshop he was hosting in Yosemite National Park, Keith Peterson has found the impact of this encounter influential to his practice later in life. Although he accounts being too young to understand the technical aspects of the workshop, the love for both photography and nature which he learned here have stuck with him to this day.  

This fascination with nature runs deep within the photographer and he makes it evident in his work. Many of the chemical reactions he photographs have similarities to the elements seen in the natural environment, and he reminisces on the “Great deal of satisfaction” he receives when he is able to replicate things such as flowers and trees in his photographic experiments. His interest and love for nature have also inspired him to create his own pigments for his work, using mineral and organic matter that he collects whilst on train hikes.  

Ever since childhood, Jakob Kudsk Steensen has been fascinated with the video gaming medium. It’s ability to transform the world around you, has inspired many of his immersive virtual art pieces. Jakob’s passion for virtual reality soon combined with his wonder surrounding the natural environment, specifically wetlands. Bringing his two passions together, Jakob explores past and present stories interacting with our landscape, reframing our perception of the world around us.

FOLKLORE AND SONG: NATURE’S VOICES

Who is Jakob Kudsk Steensen and what is your vision?

Yeah, my name is Jakob Kudsk Steensen, I’m an artist. I’m from Denmark, but for the past ten years I worked in New York, and I recently moved to Berlin. In my practice, I work a lot with video game technologies, I think a lot about how to use them beyond the usual vernacular or video games. Which is very aim and level based and kind of follows like a more rational experience and design, where you have to touch or interact with things very one to one. So I specialize in a very intuitive, collaborative and environmental way of using video game technologies in particular, to convey overlooked or forgotten perspectives on natural histories, different species, and things you might not think about so much in nature. Recently I also started working a lot with songs and kinds of folklore and looking into lost sensibilities and words used to describe and talk about our relationship to different environments. So, I also now start to work off a song and create this kind of rhythmic, almost hypnotic instruments that people that is like a short description of what I do.

Yeah, sounds really good. So obviously your art is kind of free and is quite immersive. Can you explain, like, as an artist, what made you kind of gravitate towards that medium? Were you always interested in it? Has it been a bit of a journey for you?

Yeah, I was actually just thinking about that. I was just out swimming and as I came up, I was thinking about this memory. As a  child, my friend Simon was round my house, we often would play video games together. So this is like a long term passion for me since I was eight or something. So I really grew up loving video games, right at the time where more complicated 3D worlds became available, particularly this kind of first person perspective. It’s very common today, but it means that you can really navigate through space. So my friend Simon, he would always have anxiety when in a video games, especially when we’d have to be underwater. Because underwater you could move in all these different directions that you normally physically can’t. And sitting in front of a computer, it became kind of like this weird sensation in your brain as you are shifting. Like what you’re looking at your hand on a mouse, your fingers on the keyboard. It’s kind of tactile, but suddenly your perspective is shifting and moving in all these impossible ways. So for me, it’s just been something I’ve felt very drawn to, really. I can remember my kind of childhood years and as a teenager, we’re really informed by the explosion of this new medium, more like complex 3D worlds.

So for me, it just seems like a normal, intuitive thing to gravitate towards. And within the past five years, with this new second wave of virtual reality and augmented reality and more recently being able to create really large scale immersive installations, it feels like we are now able to move beyond the two dimensional screen and we can really embrace the kind of conceptual dimensions of 3D space in new ways that we haven’t done before. Like getting away from two dimensional art towards something else, something more corporal, something more physical and something where the human body is really at the center of the experience. That’s why I feel really kind of attracted by these so called immersive media.

That sounds really complex. It’s like a really lovely kind of memory and it really encapsulates kind of what your work means, I think what you’re of interested it sounds so interesting. So you had a of recent show in Berlin inspired by the wetland of Brandenburg.

Yeah. Brandenburg region.

Could you kind of explain a bit about why you chose them as your main muse in some of your work?

Because I think some people would think, like, oh, obviously forests and flowers are a big source of inspiration, but wetlands doesn’t come into your head automatically is something kind of beautiful in nature.

So, in the past, I’ve worked with more iconic narratives that we are used to thinking about when we consider the natural world or climate change. I did a project in 2016 called Primal Tourism, which took place on a tropical sinking island, the island of Bora Bora, and reanimated another virtual reality artwork. I work with the songs of extinct birds, and I also work with glaciers and different forests. So, I’ve gone from working with types of landscape that we immediately think about when we think about our relationship to ecology and the climate but for the past two years, I’ve tried to go even further and looking for stories about environment that we more rarely think about. What I found was that wetlands is an absolutely essential and very overlooked type of ecosystem because any large city and civilization in the world is built by a wetland. And it’s theorized, you know, that all modern humans come from wetlands in Africa. So it’s like we’ve forgotten the importance of wetlands. And this is why we have issues with freshwater. It’s why we have toxic kind of rivers and lakes around Europe and the. States, because the definition of a wetland. Is an ecosystem that’s able to sustain its own freshwater.

And freshwater, of course, is essential for. Mammals and human survival. So we’ve kind of forgotten this muddy very essential and important landscape right beneath our feet. In Berlin I created this artwork called Berl Berl, the first four letters of the word Berlin. It’s actually an old Slavic word that people used in the region in the Middle Ages, and it means swamp. The very name of Berlin mean swamp.

So I was invited to this art show in Berlin, and I created this immersive installation in the Hallmarks which was normally a nightclub. And then I turned it into this living swampy virtual instrument that people enter and kind of get hypnotized or sink into. People were spending between one and 3 hours inside of the artwork and then kind of lay on pillows, walk around, sit down, and really be kind of hypnotized and into this primordial swamp soup. So that’s the reason I made that artwork Berl Berl in Berlin specifically.

I obviously know you have done stuff recently. You mentioned new elements to your work, kind of first starting to work with of music and song. You mentioned kind of working with a singer, Arca and Matt McCall. Could you kind of mention about what this journey towards kind of including music in your work was like, how you went about it, what first inspired you to include kind of focus on the things like that in your work?

 Yeah, definitely. It started with a book I read by an author in the UK called Melanie Challenger, called On Extinction. It’s really the book that led me down a path of focusing a lot on folklore, folk words, song and this more overlooked landscape beneath our feet everywhere. Because initially Michelle writes that the words we use to describe the world are the words we can use to protect it. And so I became fascinated, especially in Berlin and looking into its natural history. That there used to be a multiplicity of different cultures and languages before the Middle Ages in the entire region. And these would speak many different dialects of Slavic and other like Eastern European dialects. And then moved to German. And these dialects are often referred to as singing cultures. So also in Ireland, it’s the same. Actually, in some places of Denmark, a lot of wetlands are surrounding by these singing, diverse dialects.

And cultures have songs as a way of navigating the world. So they would use instead of having a written culture where we are documenting and writing down our stories about the world, a song has different verses and it can mute say, then change through time to adapt to how specific value system or landscape is transforming. So song is really something very like malleable, very mutational, but also very descriptive and something that can create a strong sense of belonging. In the ad work Bell Bell, I invited this singer Arca to respond with a series of short verses and words based on images and folklore that I would send her from the actual place. So I sent an old Slavic song about a word made of fire, I sent a tale, a little story of these nymphs and how they would sing and lure men into the rivers. I’d send like stories about this frog king that used to govern the wetlands. And I’d sent different images of moths, of insects, leaves, mud, like fungal systems, all sorts of material that I have from the wings around Berlin. And then she would send little verses in conversation sounds to the material.

And above that, she would also sing to the artwork like it was a cathedral, because that kind of place and it feels kind of like a church and it’s referred to a church of Berlin. It’s like the most famous nightclub in the city where the exhibition took place. So she would also sing to it kind of like a cathedral, kind of more like a Christian way of relating to space, but also very shamanic and very intuitive and personal. So you get this total mixture of something that felt religious, something that felt personal, something that felt very constructed or conversational. And then Matt McCall, who was this guy I worked with many times before, he makes sound at the Natural History Museum in New York, expertise in working with natural recordings. So we went out together and record sounds from the excellence and we work with the Natural History Archive in Berlin to get sounds recorded. We really mix together the songs of archive recordings of wetlands and swamps around villains from the past without recordings from the present. And this is mixed together in real time by Bell Bell, which essentially is a virtual world and a living instrument.

So it never sounds or looks the same. It just mixes together all these different elements in real time and it becomes this strange thing that moves and shifts and sometimes feels like an uproar and then at times it feels like nature documentary and it’s really turning you through different emotional spectrums and different perspectives and wetlands continuously. But that’s why I’m interested in folklore, songs and verses now, because it’s a way of viewing an ecosystem with something very but it’s less static, it’s something that can change. Different words can be combined in different sequences, they can change tonality and kind of change expression, and therefore the feeling of the landscape. And in Berl Berl, everything you see in the artwork in this virtual swamp controls what happens to the sounds. So if it’s very rainy and muddy, certain bursts the sound is more archaic. If it’s  sunny and you’re in the middle of some trees, it sounds more realistic and like birds. So as you’re journeying through the environment, the songs follow and vice versa. So it’s like this dual system where all these different elements are connected and no one really knows exactly what’s going to happen each time is exhibited.

JAKOB KUDSK STEENSEN: WHAT NEXT?

Yeah, it’s honestly so lovely to hear you talk about it. You can really kind of almost, like, sense your passion and your kind of drive towards your art through your work, and it’s wonderful.  Your recent group exhibition for the Sonar Festival in Spain was also inspired by a different set of wetlands. So a lot of people imagine wetlands as a kind of obscure space between water and life and kind of  liminal space where we’re kind of in a sense of in between. Do you kind of feel that sense? And what kind of is it about wetlands themselves that truly has kind of captured your attention?

Yeah, it’s actually funny as I start explicitly working with wetlands mainly with Berl Berl and this artwork Liminal Lands that you’re mentioning, I learned that my favorite artworks from the past actually took place or depicted urbanised wetlands. It wasn’t really a rational intention. It’s just like this artwork, animated, takes place in a mountainous wetlands. One of my other works, Aqua Phobia takes place in a wetland, in Brooklyn Galleries in London. So I found that I’m attracted to these limbo, morphing, undefinable landscapes. It’s like they give you space to imagine the world in new ways. They give you the space to move beyond realistic representation. They give you kind of a dimension, a less rational dimension with us, less pressure for you to define everything you’re saying and doing, and you can kind of things into and play out.

Essentially these less definable realms there are less boundaries surrounding whats living in the soil, what’s living in the trees, what’s living in the water, all creatures have very close relationships. It’s like an inter species ecosystem. And there’s also a place where life at different scales, let’s say a deer and bacteria in the soil, a bird in a tree, they all influence each other very closely. So you get this place where you can really think about interconnectivity of life at different scales, and you can really imbue it with a lot of mythology and imagination. And being someone that’s worked with video game technologies and very like industrial 3D tools. For most of my life, I’ve been curious about that, this kind of freedom of imagination. Yet having to adhere to stories from a specific place is something that’s just very attractive to me. It’s almost like, what would you say, like a synonym for the world today, where we have all this control through technology. We think we have organic patterns in the world and our subconscious, our dreams and everything, we can’t really control those elements fully. So it’s just a way of working with wetlands in specific that you can kind of imbue with all this imagination.

And so this artwork, Limited Lands, was made in 2021 with an art foundation called Luma. So I spent a whole year documenting changes to a landscape based on salt, fresh water, bacteria and algae and how they are changing what things look like. For example, a branch on a tree can be brown and look like what you think of as a tree one day. Then the week later, it can turn into a white coated crystal. A week later it can become pink and green because the algae and salinity levels change. So you have this very trans-mutational zone that exists. The specific wetland called the Kamak exists between freshwater, salt water and the Mediterranean and more agricultural soil. So it’s this kind of membrane that really exists between worlds at all times. Some things die and live very quickly. Like I came across this bird that had fallen in the water, and then the water had become more salt, so it probably drank it and died. And then it turned into a giant crystal because a week later there had been a lot of sun. And when there’s a lot of sun, the water evaporates and everything turns into salt.

And then that salt, these different pink and green algae grow. You get this pink crystallized seagull in the landscape and all sorts of formations that are real, that are documented through this kind of 3D spatial photography. But when you look at them in isolation and you can change perspective on it, it almost looks like science fiction. So it was this idea of finding, again, these imaginative science fiction worlds right beneath our feet as a way of saying also that you don’t really need to look to life on the moon to get strong science fiction. We have it all around us. We’re just kind of forgetting about it, that the world can be that you can kind of look and be much stranger than you think, just tend to forget it the more we kind of get sucked into, let’s say, virtual medium. So this Liminal Land is a virtual reality artwork to bring  people together. Normally, where they are, the movement changes sound in the landscape. So again, it’s kind of like this idea working with the instrument and sound. So as people physically move in the artwork, they change sounds and textures in this virtual landscape. And the virtual landscape are entirely made of sounds and digitized elements from the land.

That’s a really beautiful way to kind of think of wetlands. And I think it’s so, like, poetic that your favourite art has kind of you hadn’t even realized it’s been wetlands. And I just think it’s such a slightly creepy but also kind of like destiny. So I suppose the last question I have for you is kind of what are your future plans? Do you have any upcoming projects? What have you got going on at the moment?

Yeah, I have, like, a smaller artwork coming out this summer. It’s a public artwork in Switzerland that’s based on because for the past few years, I’ve only been working on these large collaborations. So this past February, I just spent two weeks going to a glacier cave in Switzerland, and I scanned it, and I went with a friend of mine, Joe Kunan, an author. He’s writing a little short story for this artwork. And we just went to this glacial cave for two weeks, scanned it, and he’s working on a little story for it. So we did something very impulsive and intuitive in the Swiss Mountains. And that’s going to become like a video installation, but that’s kind of an intermediary project where what I really want to work on next is kind of an operatic immersive type of video game and series of exhibitions. I’m also giving a lecture at the Opera House in Finland next month as I’m really curious to start exploring these new ways of collaborating even more between the contemporary art world and these  Immersive installations between music and nature. Music is a way of telling stories and having characters and costumes and everything and then having fully distributed online worlds that people can enter to experience the artworks.,So that’s kind of where my head is at looking into the future.

URBAN GROWTH AND POLLUTION 

Thanks to human activities, the threat of climate change is becoming more imminent than ever before. Whilst there are many contributing factors, cities are responsible for over 70% of global CO2 emissions. This is largely due to industrial activities and transportation systems that rely heavily on fossil fuels and carbon-intensive materials. Since cities play such a large role in pollution, it is increasingly important for society to review the way we approach urbanisation and city planning. Large communities must focus on tackling climate change. 

Buildings that clean the air are a great way to tackle climate change. These structures actively contribute to saving our environment whilst providing the necessary infrastructure for growing communities. In recent years there has been a significant shift towards creating architectural solutions and integrating these buildings into cities. Urban planners, architects and environmentalists have been working together to create structures that clean the air around them.

HOW CAN BUILDINGS CLEAN THE AIR?

There are many ways buildings can do this. Green roofs and living walls are great options that look great whilst improving the surrounding air quality. Green Roofs can help absorb pollutants, reduce CO2 levels, and lower urban temperatures. Living walls are vertical gardens that are integrated into building facades to capture airborne pollutants, produce oxygen and improve air quality. Both of these are also aesthetic additions to buildings, contributing to urban beautification. 

Other ways buildings clean the air are more technical. Some have used photocatalytic materials that break down harmful pollutants when exposed to sunlight. Others have advanced air filtration systems that actively pull in polluted air, filter it, and release it back cleaner, functioning as giant urban air purifiers.

PIONEERS IN AIR-CLEANING ARCHITECTURE

Across the globe, there are pioneering examples of air-cleaning buildings that stand as architectural marvels. Here are some of the most notable. 

THE SMOG-FREE TOWER, ROTTERDAM

The Smog Free Tower in Rotterdam is the world’s first smog vacuum cleaner. Designed by Studio Roosegaarde, the tower uses ionisation technology to capture and remove smog particles from the air. Up to 30,000 cubic meters of air can be cleaned per hour, reducing pollution in its immediate surroundings. 

BOSCO VERTICALE, MILAN  

This vertical forest is a pair of residential towers in Milan, designed by Stefano Boeri Architetti. Approximately 20,000 trees, shrubs and plants cover these buildings, making them a living and breathing part of the city’s landscape. The vegetation absorbs CO2, produces oxygen and filters fine particles from the air. Biodiversity is also created by the plants, meaning the towers are home to habitats for various species. All of this contributes towards a healthier urban environment. 

THE PALAZZO ITALIA, MILAN 

Milan’s Palazzo Italia is another pioneering piece of smog-eating architecture. The building mimics the function and appearance of trees, converting air pollutants into harmless salts that can be washed away in rainfall. Additionally, the roof is covered in solar panels to generate energy. The building was unveiled for Milan’s Expo Site serving as a landmark and representing Italy’s commitment to sustainability and innovation.

THE AL BAHR TOWERS, ABU DHABI 

In the heart of Abu Dhabi, the Al Bahr Towers are silhouettes of innovation. The two towers’s exterior consists of 2,000 geometric panels that adjust themselves throughout the day. These ‘mashrabiya’ panels take their inspiration from a traditional Islamic shading device, adjusting during the day to optimise natural light and reduce solar gain by over 50%. In hot conditions, excessive solar gain can lead to overheating, increasing the need for air conditioning and energy consumption. By reducing this, these towers cut CO2 emissions by 1,750 tonnes annually. Whilst these towers don’t physically clean the air around them, the advanced technology means that the building is a pioneer in how architecture can reduce carbon emissions and work towards a better planet.

THE OASIA HOTEL DOWNTOWN, SINGAPORE 

The Oasia Hotel Downtown is an iconic green 27-story tower. This hotel integrates green spaces into its architecture to improve urban air quality. Similar to Bosco Verticale, this structure is a vertical garden featuring over 21 species of climbing plants, helping to absorb CO2, producing oxygen and increasing the surrounding air quality. Inside the building, natural ventilation and green spaces are prioritised, increasing energy efficiency. The Oasia Hotel is an example of how biophilic design can transform urban spaces into healthier, more sustainable environments.  

TORRE DE ESPECIALIDADES, MEXICO CITY

Torre de Especialidades is a hospital building in Mexico City that features cutting-edge air-cleaning technology integrated into its facade. The building is covered with a special type of photocatalytic tile that breaks down harmful air pollutants when exposed to sunlight. This reduces the levels of pollution in one of the world’s most polluted cities. The large-scale application of this technology on Torre de Especialidades demonstrates the potential for the widespread use of such materials in urban environments to combat air pollution effectively.

+ Highlight Image: ©Oasia Hotel Downtown, Singapore by Far East Hospitality

Sustainable design aims to minimise the industry’s negative environmental impacts through thoughtful design practices. This means creating spaces and products that are energy-efficient, resource-efficient, and environmentally responsible. The ultimate goal is not only to reduce harm but to enhance the natural and built environments for future generations. 

Reading is a great way to educate yourself on sustainable design, whether you are an architect or simply interested in sustainability. Specialised books on sustainable design can inspire innovation and provide practical solutions to today’s complex challenges. These works can serve as guides for designers, architects, and engineers. They offer new perspectives and methodologies for creating products, buildings, and systems that are not only functional but also environmentally sound. 

Below are eight influential books that have shaped sustainable design, each providing unique insights and approaches to building a greener world.

Best Books on sustainable design

“CRADLE TO CRADLE: REMAKING THE WAY WE MAKE THINGS”
BY WILLIAM MCDONOUGH AND MICHAEL BRAUNGART

Published in 2002

“Cradle to Cradle” challenges the traditional “cradle-to-grave” manufacturing model that ends in waste and landfill. Instead, it proposes a “cradle-to-cradle” model that mimics natural processes, where products are designed with their entire life cycle in mind, enabling them to be fully reused or safely composted. This visionary approach encourages designers to use materials that benefit human health and the environment, advocating for a future where industry and ecology coexist harmoniously.

“THE UPCYCLE: BEYOND SUSTAINABILITY – DESIGNING FOR ABUNDANCE”
BY WILLIAM MCDONOUGH AND MICHAEL BRAUNGART

Published in 2013

In this follow-up to “Cradle to Cradle,” McDonough and Braungart further develop their ideas on sustainable design. They emphasise the concept of upcycling—transforming waste materials into new products of higher value. “The Upcycle” moves beyond the idea of simply doing less harm and advocates for a design philosophy that seeks to create a world of abundance and positive impact. The authors encourage readers to think beyond traditional sustainability and instead focus on innovation and regenerative design principles that improve the quality of life for all living beings.

“BIOMIMICRY: INNOVATION INSPIRED BY NATURE”
BY JANINE BENUYS

Published in 1997

Janine Benyus’s “Biomimicry” introduces readers to the concept of learning from and emulating nature’s time-tested patterns and strategies to solve human problems. This groundbreaking book explores how observing and mimicking natural processes can lead to sustainable design solutions in various fields, including architecture, engineering, and product design. By looking to nature for inspiration, designers can develop materials and technologies that are both efficient and environmentally friendly, reducing our ecological footprint while enhancing functionality.

“DESIGN LIKE YOU GIVE A DAMN: ARCHITECTURAL RESPONSES TO HUMANITARIAN CRISES”
BY ARCHITECTURE FOR HUMANITY 

Published in 2006

This book is compiled by Architecture for Humanity, a nonprofit organisation dedicated to sustainable architecture. It showcases a range of innovative design solutions aimed at addressing humanitarian crises and environmental challenges. “Design Like You Give a Damn” highlights the role of design in creating resilient and sustainable communities, particularly in response to disasters and social needs. The book is a powerful reminder of how architecture and design can serve as tools for positive social change, fostering community resilience and promoting sustainable practices in challenging environments.

“SUSTAINABLE DESIGN: A CRITICAL GUIDE”
BY DAVID BERGMAN

Published in 2012

David Bergman’s “Sustainable Design: A Critical Guide” offers a practical and accessible overview of sustainable design principles. The book covers a wide range of topics, including energy efficiency, water conservation, and materials selection. It provides architects, designers, and students with knowledge to integrate sustainability into their work. Bergman emphasises the importance of a holistic approach to design, considering the environmental, social, and economic impacts of every decision.

“SUSTAINABLE MATERIALS, PROCESSES, AND PRODUCTION”
BY ROB THOMPSON

Published in 2013

This book is a guide focusing on sustainable materials and production processes used across various industries. Thompson provides detailed information on environmentally friendly materials, technologies, and manufacturing methods, helping designers make informed choices that reduce environmental impact. It serves as a valuable resource for those looking to understand the lifecycle of materials and the importance of sustainable production practices in design and manufacturing.

“THE GREEN STUDIO HANDBOOK: ENVIRONMENTAL STRATEGIES FOR SCHEMATIC DESIGN”
BY ALISON G. KWOK AND WALTER T. GRONDZIK

Published in 2007

“The Green Studio Handbook” is a practical resource for architects and designers looking to integrate environmental considerations into the early stages of design. It provides strategies, case studies, checklists, and tools to guide sustainable design practices. Throughout the publication, the importance of considering the environmental impact from the very beginning of the design process is emphasised. Those who follow this guide are sure to embed sustainability in the core of their architectural projects.

“MATERIAL REVOLUTION: SUSTAINABLE AND MULTI-PURPOSE MATERIALS FOR DESIGN AND ARCHITECTURE”
BY SASCHA PETERS

Published in 2011

Sascha Peters’s “Material Revolution” explores the innovative and sustainable materials that are transforming the fields of design and architecture. The book highlights new developments in materials science, showcasing materials that are not only sustainable but also versatile and multi-purpose. Peters encourages designers to think creatively about how materials can be used in new and sustainable ways, pushing the boundaries of what is possible.

+ Highlight Image: ©Syd Wachs via Unsplash

FLOATING HOMES | A SUSTAINABLE SOLUTION FOR THE FUTURE

Floating homes are architectural marvels designed to rest on water. Usually found on lakes or rivers, these homes float upon pontoons or platforms, offering a unique living experience that adapts to changing water levels and is inherently sustainable. Unlike houseboats, floating homes are permanently moored and have no means of self-transportation. 

With climate change driving rising sea levels and increasing weather extremes, the need for adaptable and eco-friendly housing solutions has never been more urgent. Floating homes present a resilient alternative, allowing structures to rise and fall with water levels while integrating green technologies to minimise environmental impact.

Although floating homes might seem modern, they have deep historical roots. Historically, humans have built communities near water for survival, and in some cases, this meant actually living on the water. These floating villages and communities still exist all over the world.  This article explores the phenomenon of floating homes and their history. We delve into the origins of floating communities, their influence on modern homes on water, and the inherent sustainability of choosing to live on water.

TRADITIONAL FLOATING COMMUNITIES

One of the most famous floating villages is located on Tonle Sap Lake in Camodia. This community has existed for centuries, developed in response to the lake’s constantly changing water levels. Other examples include in Ha Long Bay in Vietnam and the Uros Islands in Peru, which have thrived for hundreds of thousands of years, relying on fishing and aquaculture. 

Traditional floating communities are built on strong social structures that revolve around shared resources and communal spaces. They use local materials such as reeds or bamboo, which offer buoyancy, helping adapt to the changing water levels. Some homes are also built on stilts to avoid flooding during water level rises. 

Sustainability is crucial for the survival of these water villages. Fishing, agriculture, and other water-based resources are the primary sources of income and food. These practices, combined with the use of local resources such as bamboo and reeds for building, contribute to the hyper-sustainability of these floating communities. 

Modern floating communities also exist. In Amsterdam, Schoonschip is a floating neighbourhood consisting of 46 houses. This sustainable community is powered by renewable energy, including solar panels and heat pumps and the community is designed with a strong focus on water management and self-sufficiency.

FLOATING HOMES TODAY

Modern floating homes draw inspiration from these traditional communities. They too can rise and fall with changing water levels and emphasise sustainability. Their water location avoids extensive land excavation, and although modern materials like concrete and steel are common, the principles of using lightweight, buoyant, and locally sourced materials remain influential in the design process. Floating homes typically use a high percentage of renewable energy, with solar panels, water filtration systems and green roofs being commonplace.  

The world’s first completely self-sustaining floating home is called the SeaPod, located off the coast of Panama. Created by Ocean Builders, the SeaPod is a sleek modern building with panoramic ocean views and advanced sustainable technology such as solar panels, rainwater harvesting, and systems for waste management. The purpose of this home is not only to create a luxury and off-grid living experience, but to promote marine life by creating artificial reefs beneath the structure. Through this eco-restorative approach the SeaPod is revolutionary, combining luxury with sustainability and environmental restoration.

PROS AND CONS OF LIFE ON WATER

Living on water offers a unique lifestyle with many advantages, such as stunning views, a close connection to nature, and an inherently sustainable way of life. The emphasis on community is fading in our modern society. Reconnecting with this lifestyle offers numerous social and mental health benefits. Being part of a close-knit community fosters a sense of belonging, while tranquil water surroundings can reduce stress and promote a more mindful, relaxed way of living. This blend of social connection and natural tranquillity makes water life an appealing choice for those seeking balance and well-being.

However, water life also comes with challenges. Homes are more exposed to weather extremes, maintenance can be more complex, and there may be legal or zoning hurdles to navigate. Additionally, while floating homes provide a peaceful retreat, the proximity to water can sometimes mean isolation or limited access to certain amenities.

YOUR OWN FLOATING HOME

If you want to experience life on a floating home there are many ways to make it happen. Companies such as Eco Floating Homes, who design and build stylish and contemporary floating homes, help you to design your own. You can also rent floating homes through sites like House and Boat Odra and AirBnB, allowing you to test the waters before committing to this unique lifestyle.

+Highlight Image: ©Nick Karvounis via Unsplash

VERSATILITY OF HERBS 

Herbs are incredibly versatile and have been loved for centuries, ranging from culinary uses to traditional medicine. Having a herb garden means fresh ingredients in your food, fresh teas, natural remedies for minor ailments, and aromatic additions to your home. Some of the herbs with the most health benefits include basil, garlic and oregano. Basil helps reduce inflammation and boost antioxidants, garlic supports heart health, and oregano fights off germs. Other herbs, like rosemary, can help with memory, sage is great for digestion, and thyme acts as a natural antiseptic. With so many uses and benefits, growing your own herbs is a simple way to enhance your meals and your well-being.

HOW TO MAKE YOUR OWN HERB GARDEN

Starting an indoor herb garden is pretty easy. Begin by selecting easy-to-grow herbs like mint, oregano, chives, parsley, basil, and coriander, which thrive in many conditions. Choose a well-draining potting soil mix and consider adding compost for extra nutrients. Various types of pots work well for indoor herb gardens, including clay pots, ceramic containers, hanging baskets, and even repurposed items like mason jars or old teapots. Make sure your containers have drainage holes to prevent waterlogging. It’s less maintenance if your containers are wide enough to house multiple plants.

Place your herbs in a spot with four to six hours of indirect sunlight daily. Water consistently but avoid overwatering so that you allow the soil to dry slightly between sessions. Regular pruning keeps your plants healthy and encourages growth.

SUSTAINABLE PRACTICES

Embrace sustainable gardening by using organic soil and compost, avoiding chemical pesticides, and repurposing household items as plant pots. Organic soil and compost enrich the soil without introducing harmful chemicals. As well as keeping your home pesticide free, this also creates a safer environment for insects like bees and ladybugs which naturally control pests.

Repurposing household items as plant pots is a creative way to recycle waste. Transforming mason jars and teapots into herb containers saves money and adds a unique design to your little garden.

For those interested in broader sustainable gardening practices, you might find permaculture gardening a fascinating approach. It focuses on creating sustainable and self-sufficient ecosystems. For more information on permaculture gardening, check out this guide to permaculture gardening.

MAXIMISING SMALL SPACES

Even if you have limited space in your home, having an herb garden is possible. Get creative with your designs and use vertical planters, window boxes, or hanging pots. You can also use shelves and wall-mounted planters to effectively utilise your vertical space. These options not only save space but add a unique aesthetic to your home.

With these tips, you can create a thriving herb garden that not only enhances your meals but also brings natural beauty and fresh aromas into your home. Enjoy the journey of growing your own herbs and the countless benefits they offer.

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©Sixteen Miles Out via Unsplash