A Pilgrimage for Body and Soul

Each day, guests embark on daily pilgrim routes through the energetic Yorkshire landscape, including Pendle Hill (the birthplace of Quakerism) and scenic waterfalls such as Malham Cove. The retreat schedule is an ode to holistic living, featuring:

• Morning Yoga & Woodland Dining
• Wild Saunas, Ice Baths & Star Navigations
• Talks & Songs from world-leading experts in grounding, fungi, and nature connection

Walking tours revive the body; pilgrimages nourish the soul. These are some of the most sacred lands in Britain, ideal for mindful travelers yearning for deep cultural and ecological engagement.

Retreat Schedule

After descending to the huge curving amphitheatre of rock below created by a glacial waterfall (painted by Turner), you progress to the quaint village of Malham and then through wild garlic filled fairy woods to the folklore-drenched waterfall of Janet’s Foss. Then in the adjacent gorge you encounter an elemental crashing waterfall in the dramatic Gordale Scar. From here you will visit Kirkby Malham, the Cathedral of the Dales on the way back to Broughton. Then dinner back at Utopia, Broughton Sanctuary’s walled garden bistro.

Saturday 3rd May – Pendle Hill, 5 miles.

After morning yoga and a delicious breakfast, you will transfer to Downham to ascend the summit at Pendle Hill, where George Fox had a vision that inspired the founding of the Quaker movement (a spiritual path of simplicity, frugality and adventure that in turn inspired the Clark family cobblers that led to Vivobarefoot). Drink here from the deliciously refreshing holy wellspring from which Fox drank. Walk across the long ridge of this majestic hill. Then descend the valley of Boar Clough, where silence reigns and the nature spirits are in full force. Pass through woodland and dale before ending at Newchurch-in-Pendle, with which the Pendle Witches were associated.

Why it Matters?

Sustainable travel and mindful living go hand in hand. By pairing a centuries-old tradition of pilgrimage with cutting-edge footwear innovation, Vivobarefoot and the British Pilgrimage Trust bring forth a unique journey—literally and figuratively—for those who seek a deeper connection with the natural world.

Get ready to tread lightly on sacred ground while embracing sustainable, healthy footwear. After all, when we “walk closer to nature,” we learn not just about the earth beneath our feet, but about ourselves as stewards of a more harmonious future.

Through Beatriz Chachamovits’s work, the gap between art and science is bridged, offering a deeper understanding of marine life. Her unique and provocative approach urges viewers to recognise the urgent need for action and to reflect on the role we all play in the decline of coral reefs.

What is the current state of coral reefs?

The state of coral reefs at the moment is really dire. We are facing the fourth massive global bleaching in the entire globe. The world is losing its coral reefs faster than we ever imagined. There’s a lot to do and little time to do it. 

What about Florida?

The situation in Florida is precarious. Since the 70s, we’ve been losing the thicket of the reef really fast. In some areas, we have around 2% of coverage left. Our reef here used to be 300 miles long and it’s just been hammered with diseases and problems nonstop. 

There is an underwater epidemic called the stony coral tissue loss disease, which is a disease that infects the coral tissue and destroys and kills the coral colony in around four weeks, which is super fast. That disease started here in Miami in 2014. Since then, it’s been 10 years since this is ravaging the coral reefs here and it has expanded out throughout the whole Caribbean. But they have also been decimated because of rising temperatures in the water, because of the pollution runoff and nutrient runoff that we have here in Florida. Florida is really agricultural land and owned by the sugar farms and there’s no regulation for how much nutrients they put in the water. During the wet season, this chemical runoff is very problematic for corals. 

We are in the first line of actually losing our reefs here. That’s one of the reasons why I moved here because I felt like I could actually do something about it. Last year we had a record temperature in the ocean, it was 101 Fahrenheit, the corals didn’t even have the chance to battle, they just died and it was horrific. It was on the news everywhere in the world. We lost at least 15% of the 20% of corals that we still had. Some of them started to bounce back around November but the mortality rate was huge. Scientists everywhere were scrambling to take coral species out of the ocean so that they could save them.

Was there a moment when you decided you were going to dedicate your life to the corals?

Totally. There was a magical moment in 2006 when I started talking about corals. I was in the northern part of Brazil in a state called Bahia and I was drawing algae and seaweed on the beach. This man approached me, and after seeing my drawings he took me to dive in a little cave that was completely covered with corals. The ceiling had openings so the sun’s rays would come in and reveal and obscure the colours, palettes and movements. I saw critters everywhere and tiny little silverfish swaying from side to side. There was this beautiful spotted Ray covered in sand in the bottom, and it was yellow and blue, and all these colours, just screaming in my face. And more so than that, the harmony, the precision of movement, the shapes, the form, the texture, everything about it was, it was just like, an explosion of love for me. That moment changed my life. 

Once I left the ocean, I was like: Why isn’t anyone talking about this? I’m going to talk about this. And here I am almost 15 years later still talking about it. 

What is your dream response to your work?

I want people to fall in love with the ocean, just like I did. You only care about things that you love. So if we don’t know it, if we can’t love and care for it then there is no positive outcome. My deepest hope is that people will be enchanted by it, just the way that I was. Then that enchantment will transform into love, love into care and care into protection and preservation. 

Do you work a lot with scientists to understand the reef and alongside your exhibitions?

I started doing a lot of the research by myself because I didn’t know scientists, but as I moved to Miami I started to be more connected. I started to collaborate with them, ask questions and go deeper. I came to Key West to do an art residency for six months and I never left. I spent six months connecting with fishermen, marine enthusiasts and scientists and doing dives to discover and see the diseases and understand the death. That was the most hands-on time that I had in the ocean and it was instrumental for me to understand what’s happening here in Florida. Ever since then, I’ve been creating that connection with other scientists so that I can keep going. 

Having scientific counterparts has been eye-opening to me in the way that I can communicate their research, or that I can communicate the problems of the reef, especially through my interactive installations. Having those conversations with them gave me a roadmap on how to create those installations. But the creation of the work itself I do myself.

Can you tell me about your exhibition “Can You Sea Change”?

“Can You Sea Change” was a partnership between a couple of friends of mine and myself. One is a digital mapping artist, and her partner is a sound artist. The sound piece was Charlie, and he is part of DJs for Climate Action, and he also has connections within the Greenpeace sound library. So a lot of those sounds were a mix of sounds that he made plus actual sounds from the reef. Natasha is the digital counterpart of this equation. She created the image that is shown on the ceramic pieces. Some of them are actual footage from the reef, and some of them are code-generated images that she created. We show a cascading moment from a happy, thriving reef and then the reefs are heating up and dying. So the idea of this piece was for us to show the cycle of life and death that corals are facing because of us. 

What about “Into The Great Dying”?

In 2022, I started this trilogy of interactive installations called Into The Great Dying. The Great Dying was the largest mass extinction that the planet has ever undertaken, where we lost around 90% of life on land and 70% of life and sea. It was 250 million years ago. The conditions that we are creating right now with the Anthropocene mirror the conditions of the planet at that time. So this series of exhibitions is to talk about the way that we’re behaving and what we can do about it. 

The first one was called “Into The Great Dying: Steps We Take”. For that piece, I covered a gallery space that had two entrances with over 2000 unfired ceramic pieces of corals that mimicked the corals we have in Florida. I covered the entire floor with it and I invited people to enter the room and it was devastating. It was the most bizarre behavioural experiment I’ve ever done in my life. People destroyed the whole room in 30 minutes by walking on top of it. There wasn’t any space inside of the room that you couldn’t destroy. It was emotional for me to see four months of my work being destroyed in 30 minutes. It was the most incredible mirror I could have ever created to understand human behaviour and the acceleration of destruction, how we behave and how easy it is for us to destroy. It was intense.

Out of all of your exhibitions, what was the best reaction that you’ve ever had? 

The one that moved me the most was after everyone destroyed everything in that room, there was this one girl about eight or nine years old that went around the whole room trying to find the pieces that weren’t broken and started building something with it. That’s why I teach kids. We’re leaving this planet for them. We need them to know what they’re getting and to be up to the task and to give that information to them. So that was easily the most incredible thing I’ve ever seen in my work.

Is there a reason you always choose to work with clay? 

Yes, there are many reasons. One, clay is just so magical to work with and it reminds me of the feeling that I had when I first met corals. Secondly, Clay emits the feeling of coral, in the sense that clay can be forever, but it can break in one second and that’s exactly what corals are. Every time we excavate we find pieces of ceramics from the history of humans everywhere in the world. So it can last forever but if you drop it it will break. But those little pieces will last forever. Clay and ceramics are one of the first mediums that we created as a human society in history. Corals are one of the first ecosystems that we’ve ever had in the ocean. So there are many connections as to why I use ceramics. 

Before ceramics, my medium was drawing. Now I’m kind of going back to that.

Will your new project mix these mediums together? 

Yes. So my new project is a mix of drawings and ceramics. But it’s a constitution of three new bodies of work. It’s really a punch in the face with colour. I’m leaving my monochromatic world and going into full-blown colour.

Do you find it difficult to stay positive about the state of coral reefs?

It’s really tough to stay positive, especially in the world that we live in today. We are looking at a world that is abandoning science and looking at their pockets and what’s beneficial for them. They’re not thinking about the longevity of the planet, people’s kids, breathing or having clean water. But I know a lot of really good people that really are doing something about it. Especially here in South Florida.

I’ve also been looking and talking about this in other places in the world and there is a rise of people wanting to do something about it. The worse we get, the more people I see wanting to act. So there is kind of a balance of optimism but right now I’m not in an optimistic mindset.

Do you have an idea of what you want people to start doing to help? Do you have solutions? 

There is no roadmap for solutions. The thing about coral reefs is that the solution is not onefold because it takes everyone to do it. One of our biggest powers is consumption, how we use our money and where we’re putting our money. That is number one for individuals, but this problem is not an individual problem. This problem is a societal problem. It’s a problem with the sugarcane factories, it’s a problem with the government. It’s a problem with industrialisation as a whole. It’s a problem of how we lead our world and it’s not an easy thing to change. That’s why it’s so complicated. 

There are tiny things that we can do to feel like we’re contributing, but what we really need is leaders who really understand that this is a problem. So a lot of the solution comes from us understanding that this is bigger than ourselves and asking for help and also requiring the people that are in power to do so as we need. Because we need to have a planet there you know, and without the ocean, there is no planet.

Do you have challenges with communicating this to people and with your use of clay? 

Of course. Clay is super challenging. You have to be so detached because it requires so much commitment and decision and then you can lose it in a second. But it can also go into the kiln and come out as something incredible. So in ceramics, you need to deal with the fact that all of the effort that you’re putting into this single piece might not be what you actually want it to be. But that has also a lot to do with the way that things are going in the world. There are so many metaphors and overlapping ideas of societal progress in the way that you work with ceramics. 

It’s an important part of my practice. I have laid out pieces for people to destroy, I have dissolved my structures. I have put sculptures inside of water and they dissolve throughout the exhibition to talk about ocean acidification. So I’m really prone to destroying my work. It doesn’t faze me when things like this happen. I do that to myself because that’s what we’re doing to the planet.

THE INFLUENCE OF SOCIAL MEDIA ON FASHION

The growth of influencer marketing is one of the main reasons that social media has greatly influenced current fashion trends. Customers are more inclined to purchase clothing that is recommended by a reliable influencer, according to research. Fashion bloggers and other industry personalities have a significant impact on customer behaviour, as evidenced by the findings of a McKinsey & Company survey, which revealed that over 60% of consumers were affected by influencer content while making a purchase. Additionally, this creates chances for retailers and fashion labels to increase sales.

The manner in which trends are developed and embraced is another way that social media has affected the fashion industry. It is enabling an instantaneous spread of fashion ideas across the globe. Through these platforms, a wider range of voices and styles may now be seen and heard at the simple press of a button. Our hunger for instant gratification has grown as a result of our continual exposure to these shifting social media trends, which has resulted in impulsive buying patterns. Due to the “perfect” and “inspiring” photos on social platforms, which fuel the fast fashion cycle, many people feel under pressure to keep up with their favourite influencers’ outfits.

CHALLENGES FACING FAST FASHION BRANDS

Ethical and sustainable fashion brands face significant challenges in a landscape dominated by fast fashion. Their longer production cycles and commitment to higher standards make them less visible in the flood of quickly produced and widely promoted fast fashion. 

Another McKinsey survey indicates that although 67% of customers think it’s vital to use sustainable materials, these ideals are frequently overshadowed by the fast-paced nature of fashion trends.

The price of ethical production, which leads to higher price points, is one significant obstacle. Customers who are used to the low costs of fast fashion may be put off by this. Fast fashion firms produce knockoffs of a trend that becomes viral on sites like TikTok in a matter of days at a fraction of the cost, while sustainable manufacturers may take weeks or even months to construct a new collection. The ultimate cost, meanwhile, is environmental since the fast fashion industry’s increased production feeds wasteful and polluting practices.

ARE WE INFLUENCED MORE THAN WE REALISE?  

Due to social media platforms’ preference for high-engagement content – posts that get likes, shares, and comments – fast fashion, with its accessibility and popularity, frequently receives greater attention than sustainable alternatives. Because of this, fast fashion content is constantly promoted to the top of users’ feeds, which feeds into a destructive cycle of excessive consumption.

Additionally, users find it challenging to distinguish between personal and promotional information on apps like TikTok and Instagram due to the merging of marketing and user-generated content. Because of these tailored algorithms, even people who are interested in sustainability find themselves continuously bombarded with advertisements for fast fashion firms.

WHAT CAN WE CHANGE?

This being said, social media platforms such as Instagram and TikTok do have the power to change consumer behaviour by elevating voices that support sustainable practices and mindful consumption. It can raise awareness of the significance of making ecologically conscious decisions by showcasing slow fashion movements, ethical goods, and sustainable influencers.

New social media platforms, such as BeReal, allow its users to share their daily lives with friends without the constant stream of fast fashion adverts, reducing the need to buy quick, throwaway purchases. Users share spontaneous moments from their lives, rather than scheduling paid partnerships and shifts the emphasis from material possessions to real-life interactions.

Unfollowing influencers that support fast fashion is a simple yet effective way to help algorithms prioritise sustainable content. This can greatly lessen impulsive spending spurred by social media trends, especially when paired with mindful shopping practices like stopping before making a purchase and placing an emphasis on quality rather than quantity.

Research indicates that although just 52% of consumers genuinely take sustainability into account when making purchases, almost 80% of consumers want businesses to be socially conscious. This disparity illustrates how fast fashion marketing continues to have an impact. Together, we can take a positive step towards a more sustainable fashion future by learning about greenwashing, supporting smaller, local firms and making it a priority in our lives.

+ Words:
Aoife Morrall
Luxiders Magazine Contributor

+ Image Highlight:
© Georgia De Lotz via Unsplash

In a world where sustainability is no longer a buzzword but a necessity, eco-museums have emerged as cultural sanctuaries that offer more than just an exhibition of the past. These innovative spaces are pioneering the way we preserve history, art, and nature, while actively engaging with the principles of environmental conservation, community empowerment, and sustainable development. Far from traditional museums, eco-museums blend heritage with environmental stewardship, offering visitors an immersive experience into the cultural, social, and ecological landscape of their surroundings.

What is an Eco-Museum?

An eco-museum is not confined to a building with curated collections of artifacts and exhibits. Instead, it’s a living museum that stretches across landscapes, communities, and ecosystems. The concept, first developed in France in the 1970s by museologist Hugues de Varine and historian Georges Henri Rivière, aims to integrate cultural heritage with the natural environment. These museums focus on the relationship between local communities and their environment, encouraging active participation in heritage conservation while promoting sustainability.

Unlike traditional museums, eco-museums are often community-led, meaning locals are deeply involved in preserving their own history, traditions, and environment. These spaces also tend to have decentralized structures, with exhibitions scattered across villages, towns, or natural landscapes. This structure ensures that the museum itself is eco-friendly, minimizing the environmental impact of central, high-energy-consuming buildings.

A Global Movement for Sustainability  

Eco-museums have spread across the globe, each tailored to reflect the unique cultural and environmental aspects of its region. Below, we take a closer look at some of the world’s most inspiring eco-museums, each offering a distinct approach to sustainability, cultural preservation, and environmental education.

Parco Museo Minerario dell’Amiata, Tuscany, Italy

Nestled in the picturesque landscape of Tuscany, the Parco Museo Minerario dell’Amiata (Amiata Mining Park Museum) showcases the intertwined histories of mining, nature, and community. This open-air museum stretches across the slopes of Monte Amiata and invites visitors to explore old mining sites, each restored and integrated into the natural environment. Once a source of local economic livelihood, the mines have become an educational tool for visitors to learn about Tuscany’s mining heritage, the environmental impacts of industrial activities, and the importance of ecological restoration.

The museum is powered by renewable energy sources, and many of the exhibits focus on environmental rehabilitation, emphasizing the need for balance between economic activity and sustainability.

Ecomuseo del Vento, Spain

High in the Pyrenean region of Spain, the Ecomuseo del Vento (Wind Eco-museum) celebrates the ancient and renewable power of the wind. Here, traditional windmills, solar panels, and wind turbines work side by side, highlighting the local community’s centuries-old reliance on natural energy sources. The museum serves as a learning hub, demonstrating the use of sustainable energy practices from the past and promoting modern technologies that harness clean energy.

The eco-museum also takes pride in protecting its surrounding wildlife and flora, ensuring the preservation of biodiversity through organic farming practices and sustainable tourism. By incorporating eco-friendly infrastructure and actively engaging the local community in conservation, the museum stands as a model of sustainability.

Highland Folk Museum, Scotland

The Highland Folk Museum, often referred to as one of the oldest living history museums in the world, has been at the forefront of sustainable heritage conservation. Located in the Cairngorms National Park, the museum comprises traditional thatched cottages and crofts that recreate life in Scotland from the 1700s to the 1950s. The museum uses sustainable building materials and techniques, such as thatching and natural insulation, to ensure the preservation of both cultural and ecological heritage.

The museum grounds are home to several biodiversity conservation projects, including initiatives that protect native plant species and support sustainable agricultural practices. The Highland Folk Museum beautifully illustrates how eco-museums can intertwine history with nature, offering visitors a meaningful reflection on humanity’s coexistence with the natural world.

Bokrijk Open-Air Museum, Belgium

Set amidst lush forests and meadows, the Bokrijk Open-Air Museum in Belgium presents a dynamic model for integrating culture and nature. The museum features over 120 historic buildings that reflect traditional Flemish architecture, each restored using eco-friendly methods such as local timber and sustainable stone quarrying. Bokrijk’s focus on traditional craftsmanship and sustainable building techniques serves as a reminder of the enduring importance of eco-conscious construction.

Bokrijk is also home to a variety of environmental education programs, including workshops on permaculture, organic gardening, and traditional farming techniques. These programs engage visitors in the art of sustainable living, making Bokrijk not only a museum of history but also a beacon of green innovation.

Ecomuseum of the North, Sweden

In the far north of Sweden, the Ecomuseum of the North is a vast, decentralized museum stretching across 3,000 square kilometers. Spanning more than 100 sites, this eco-museum encompasses both natural landscapes and cultural heritage, from historical ironworks to reindeer herding villages. This Swedish marvel emphasizes the role of indigenous Sámi culture and their relationship with the environment, offering insights into the sustainable practices of one of Europe’s oldest cultures.

The museum’s dedication to preserving the local ecosystem is evident in its energy-efficient buildings and focus on the sustainable use of natural resources. Through collaboration with local communities, the Ecomuseum of the North has created a space where culture, history, and environmental conservation thrive together.

As we seek to protect our environment, learn from our ancestors, and build more sustainable communities, eco-museums invite us to engage in a deeper dialogue about our role in shaping the world—and how we can tread more lightly upon it.

+ Words:
Stephanie Selçuk-Frank
Luxiders Magazine Contributor

+ Image Highlight:
© Lindsey Lamont via Unsplash

IT’S OKAY TO NOT BE OKAY

DIGITAL SELF-CARE APP

Chickpeas are part of the pulse family, which also includes beans and lentils. This family is known for being a nutritional powerhouse, and chickpeas are no exception. Chickpeas are packed with protein, healthy fats and fibres. They are also loaded with vitamins, minerals and antioxidants. Eating chickpeas helps maintain blood sugar levels, promotes heart and gut health, and helps ease symptoms of Irritable bowel disease (IBD) like constipation and nausea. Just one cup of chickpeas provides a good portion of your daily manganese needs, which is essential for protecting cells, maintaining strong bones, and boosting the immune system. 

On top of this, chickpeas are environmentally friendly, they don’t require much water to grow and they enrich the soil around, reducing the need for chemical fertilisers. They’re also incredibly affordable, making them accessible for everyone.

Chickpeas are incredibly adaptable and can be cooked in countless ways. Their liquid, aquafaba, is also versatile, even being included in cosmetics because of its natural qualities. Aquafaba mimics the texture of egg whites, making it a fantastic ingredient for various culinary creations. Here are some delicious ways to eat chickpeas and use their aquafaba.

FIVE WAYS TO COOK CHICKPEAS

HUMMUS

Blend chickpeas with tahini, lemon juice, garlic, and olive oil to make a creamy hummus. This delicious dip is one of the most famous chickpea dishes and it’s perfect for any occasion.

OVEN ROAST

Roast chickpeas with your favourite spices for a crunchy, savoury snack. They’re great for adding to salads or enjoying on their own.

SMOOTHIES

Add cooked chickpeas to smoothies for an extra protein and fibre boost. They blend seamlessly, adding creaminess and nutrition without altering the flavour.

SOUPS AND STEWS

Stir cooked chickpeas into soups, stews, and curries for added texture and nutrition. They soak up flavours well and make dishes heartier.

SAUTEED VEGETABLES

Sauté chickpeas with veggies, garlic, and spices for a quick and nutritious meal. Serve over rice or quinoa for a complete dish.

HOW TO USE AQUAFABA 

This liquid from canned chickpeas is a versatile ingredient that can be used as a vegan alternative to eggs in various recipes. It’s perfect for making meringues, mayonnaise, vegan ice cream, and even cocktails. Aquafaba can create light, fluffy textures, making it ideal for baking and dessert recipes.

CHICKPEA PRODUCTS 

If you love chickpeas but don’t want to cook, don’t worry because you can find them in lots of products. These include chickpea protein powder, flour, butter and pasta. Chickpea products offer a gluten-free and nutritious alternative to traditional ingredients. You can even find chickpea snacks such as crisps, granola, and cereal, all of which are excellent options for incorporating chickpeas into your diet.

+Highlight Image: ©Sheri Silver via Unsplash

There is a debate as to whether Zoos and Aquariums are beneficial to the animal kingdom or whether they cause harm to species. Scandals involving zoos and aquariums further highlight the ethical issues at play. For example, the Berlin Zoo faced allegations of selling animals for slaughter, Ontario’s Bowmanville Zoo closed after its co-owner was filmed allegedly whipping a tiger, and nearly 500 animals died at England’s South Lakes Safari Zoo between 2013 and 2016 due to neglect and poor conditions. These incidents, among many others, underscore the widespread problem with these institutions. 

This article looks at the damages caused to these creatures in captivity and the arguments put forward by both sides of the debate.

BENEFITS OF ZOOS AND AQUARIUMS

One of the main justifications for zoos and aquariums is their educational value. Visitors are allowed to see rare species, many of which they would never see in the wild, up close. This exposure could arguably inspire individuals to care about conservation and environmental protection. 

Zoos and Aquariums also play a role in scientific research. Researchers can study animal behaviour, biology and conservation in a controlled environment, which could contribute to a broader knowledge of species. 

Many of these institutions also have breeding programs and other conservation efforts. These programs aim to preserve endangered species by protecting them from poachers, habitat loss and other aspects that could be endangering them in the wild.

NEGATIVES OF ZOOS AND AQUARIUMS 

The negative impacts of zoos and aquariums outweigh their benefits. Animals are sentient beings and when held in captivity they suffer from boredom, stress and confinement. The enclosures provided are far smaller and less stimulating than their natural habitats. Constantly having visitors, many of whom bang on the enclosures, exacerbates their anxiety. These artificial environments also don’t allow animals to engage in natural activities like hunting and foraging, leading to further frustration and psychological distress. 

Another major issue, more commonly in aquariums, is the use of animals for performances. These performances, often with species like whales, seals and dolphins, are unnatural. These shows force animals to perform unnatural, highly stressful tricks. Animal shows have raised serious concerns from animal rights activists, particularly regarding the training methods employed.

ALTERNATIVE OPTIONS

The arguments in place supporting zoos largely revolve around conservation. Claims argue that zoos and aquariums help preserve endangered species through breeding programs and public education. However, these resources could be redirected towards genuine conservation efforts that focus on protecting animals in their natural habitats.

Sanctuaries and wildlife/marine reserves offer a more humane alternative, allowing animals to live in environments similar to their natural settings. In these protected areas, animals can roam freely, engage in natural behaviours, and experience less stress compared to the confines of a zoo or aquarium. 

SUSTAINABLE INSTITUTIONS

Some institutions notable for their commitment to the animals in their care include The David Sheldrick Wildlife Trust, Monterey Bay Aquarium and The Elephant Nature Park. 

The David Sheldrick Wildlife Trust (DSWT) in Kenya is dedicated to rescuing and rehabilitating orphaned elephants, allowing them to be reintroduced into the wild. Their sustainable approach focuses on minimising human contact to ensure elephants can thrive in their natural habitats. However, DSWT does offer limited visiting hours to see elephants in a natural setting, such as feeding time and bath time.

Monterey Bay Aquarium in California is a non-profit organisation and leader in marine conservation and education. They advocate for sustainable seafood practices and conducting critical research to protect marine ecosystems. One standout aspect of this institution is that they do not keep large marine mammals like orcas and dolphins in captivity. Monterey Bay Aquarium welcomes guests year-round to its educational exhibits. 

Elephant Nature Park in Thailand serves as a sanctuary for rescued elephants, allowing them to live freely and interact naturally without the pressures of forced performances or unnatural behaviors. Elephant Nature Park offers immersive experiences, including day trips and volunteer programs, allowing visitors to contribute to animal care and conservation efforts.

LEARN MORE 

If you are interested in learning more about the ethical issues surrounding animal captivity there are many steps you can take. There are many documentaries on Netflix about sustainable living, one of which is Blackfish. Blackfish is a documentary about killer whales forced to live and perform in captivity that shows the severity of what can happen to animals kept in such small enclosures and treated so inhumanely. 

It is also important to research institutions before you visit them. Check the reviews, and the websites and speak to other people who have been before. Always choose sanctuaries or reserves over zoos and aquariums and make sure you do not bang on the glass or disturb the animals during your visit.

You can also donate to charities emphasising conservation and animal rights such as World Wildlife Fund (WWF) or The Humane Society International. Both of these organisations work to protect animals and their natural habitats.

+ Highlight Image: ©Caroline Hernandez via Unsplash

Being vegan is a powerful way to help the planet. Saying no to meat and dairy products saves animals and reduces your carbon footprint. Thanks to its growing popularity, being vegan has never been easier. From vegan menus at restaurants to dedicated sections in supermarkets, plant-based eating is everywhere. 

With veganism on the rise, certain foods have become culinary trends. Meat alternatives like soy, tofu, and seitan have become staples in restaurants and kitchens everywhere. Other foods like cauliflower and avocado have become social media favourites, inspiring cookbooks and viral recipes. Cauliflower, once considered a boring boiled vegetable, now dominates screens in the form of roasted, air-fried, steaks, rice, wings and more. 

But just because these foods are vegan doesn’t mean they are entirely good for the planet. Many of these trendy foods come with their own set of environmental and social issues. Consumers are often tricked into thinking anything vegan is 100% good and we need to be aware when this is not the case. But don’t worry, we’ve put together a list of some trendy foods that, despite their benefits, are more harmful than you’d think.

SOY 

Soy is a go-to vegan food for those looking for a meat alternative with a similar texture and protein content. But this versatile crop has significant environmental problems. Soy farming has doubled over the last two decades. We often don’t realise that soy is in much more than our meat alternatives, including some chocolates, ice creams and cosmetics. A large amount of the world’s soy is also fed to livestock. The rising demand for soy has resulted in forests, savannahs and grasslands being transformed into soy plantations. This transformation endangers habitats, particularly in places like the Amazon and African Savannahs. Brazil is the biggest producer of soy and faces significant deforestation and habitat loss due to its expansion. Soy production also generates extremely high levels of greenhouse gases and relies on large amounts of water, energy and chemicals. All of these factors lead to this popular crop leaving an incredibly high environmental footprint. 

AVOCADO 

With 11 billion pounds of avocados consumed every year avocados are one of the most popular foods in the vegan world. Packed with unsaturated fats, fibre and potassium, avocados boast numerous health benefits, including antioxidant and anti-inflammatory properties. However, this product comes at a steep social and environmental cost. It takes 2000 litres of water to produce 1kg of avocados and most avocados are grown in regions where water is an already scarce resource.

Avocados are also expensive and a lucrative business for farmers. This has led farmers to clear old trees and natural areas to plant more avocado trees, contributing to deforestation and biodiversity loss. Avocado cultivation also relies on chemical pesticides and fertilisers which degrade soil quality over time. The economic success of avocados has even attracted organised crime, with cartels becoming involved in the trade, particularly in Mexico. Human rights abuses and poor working conditions are renowned in the avocado industry.

QUINOA

Quinoa is often hailed as a superfood. It has origins in South America where it has been a staple for decades. Traditionally, quinoa was grown in fields where llamas graze, enriched by natural manure. However, the global surge in demand has made this sustainable practice impossible. Many farmers have abandoned traditional methods, opting for chemical fertilisers instead, leading to soil depletion. The rush to capitalise on the quinoa boom has also led to land grabs, displacing local communities. Because of this, Quinoa’s prices have increased and is now more profitable to export than to sell to local communities. All of these aspects mean it is no longer the affordable staple that it was for families.

ALMONDS

Almonds have become a staple in many vegan diets, particularly in the form of almond milk, which is a popular alternative to dairy. Like many nuts, almonds offer high nutritional benefits. However, their cultivation is incredibly resource-intensive, demanding high amounts of water and pesticide consumption. It takes more than 4 litres of water to grow a single almond and around 6000 to produce one litre of almond milk. This high water consumption is particularly concerning in drought-prone areas like California, where many almonds are grown. 

Aside from these factors, it is not recommended to overconsume almonds since excessive consumption can lead to digestive issues and reduced nutrient absorption, making moderation key.

SO WHAT SHOULD WE DO? 

This doesn’t mean that you should stop eating these delicious foods. The key is to be mindful of how we consume them. The most important thing is to limit excessive consumption; even the most sustainable foods can become harmful when mass-produced. Diversify your diet with a wide range of plant-based foods and choose seasonal ingredients where possible.

We should also advocate for policy changes in areas like sustainable agriculture, water resource management, fair trade and labour rights. Supporting and encouraging responsible farming practices is key to protecting the environment, ensuring fair treatment of workers, and promoting a more equitable and resilient food system.

+Highlight Image: ©Ella Olson via Unsplash

ALL ABOUT BEES

The beehive, or bee nest, is a busy community where thousands of bees live and work together, divided into worker bees and the queen bee. The hive is a self-sufficient system, efficiently managing resources and tasks. If the queen bee dies, honeybee workers quickly raise a new queen, ensuring the hive continues to thrive. Bumblebee colonies end with the queen’s death and new queens hibernate to start fresh colonies in spring. This process and the unwavering organisation of the beehive showcase the intelligence of these remarkable creatures. Bees communicate with each other in multiple fascinating ways. They dance to indicate food sources, release pheromones for signalling and regulating hive activities, pass nectar around for food exchange and bonding, send vibrations to prompt specific actions, and make sounds with their wings.

There are many different types of bees. The most common are the honeybee and the bumblebee. Honeybees are known for their large, year-round hives and significant honey production, while bumblebees are recognised for their robust bodies and smaller, annual nests. Both play crucial roles in pollination and are vital to our ecosystem.

WHY ARE BEES IMPORTANT?

From honey to beeswax, we regularly use bee products and benefit from their diverse and natural qualities. Honey has healing qualities. It is used as an anti-inflammatory, antioxidant and antibacterial agent. But bees do more than produce honey. 

Bees play a crucial role in pollination. They are essential for the reproduction of plants and without honeybees and bumblebees many plants would struggle to reproduce, leading to reduced numbers of fruits and vegetables. Through pollination, bees help maintain plant biodiversity. Bees are responsible for ensuring the survival of many plant species. This also has an effect on our agricultural industry. Through pollinating, bees contribute to the productivity and sustainability of farms across the planet. 

Other bee products, such as beeswax, are included in more things than people realise. Beeswax is used for candles, cosmetics, food wraps and more. All consumed bee products have healing benefits.

WHAT IS THREATENING BEES?

Human activities are the leading cause of the danger bees are facing. Climate change and other man-made activities such as urbanisation, pollution and pesticide usage have extremely negative effects on bees. 

Extreme weather events from climate change can destroy habitats where bees normally thrive. The changing temperatures disrupt the growth of flowers, restricting bees’ food supply. This is worsened by urbanisation, agriculture and deforestation, which convert natural environments into farms and cities, resulting in habitat loss. 

Pesticides are one of the largest threats to bees’ existence. These chemicals kill bees directly, and contaminate the pollen and nectar, harming entire communities. 

All of these factors also worsen pollution. Air and water pollution impairs bees’ ability to forage and navigate and leads to the collection of harmful substances in colonies. 

HOW CAN WE SAVE THE BEES?

BEE FRIENDLY GARDENS

Plant a variety of flowers that bloom at different times of the year to provide a continuous food source for bees. Include native plants, as they are better suited to the local bees and environment.

STOP USING PESTICIDES

Reduce or eliminate the use of harmful pesticides. Opt for natural pest control methods and advocate for using bee-friendly alternatives in agricultural practices.

SUPPORT SUSTAINABLE AGRICULTURE AND CONSERVATION PROGRAMS

Purchase organic and sustainably produced foods that minimise pesticide use and promote biodiversity. Support conservation programs and initiatives that protect natural habitats and promote the health of bee populations.

RAISE AWARENESS

Raise awareness about the importance of bees and the threats they face. Educate others on how they can help, and participate in community efforts to protect bees. The more people understand the critical role bees play, the more support there will be for their conservation.

START URBAN BEEKEEPING

Support or engage in urban beekeeping initiatives. Keeping beehives in urban areas can help bolster bee populations and increase awareness of their importance. Urban beekeeping provides bees with safe habitats and can contribute to local pollination.

 
HELP A STRUGGLING BEE 

If you find a bee that appears to be struggling, you can help. Mix two tablespoons of white granulated sugar with one tablespoon of water, and place it near the bee. Make sure the mixture becomes more of a paste than a liquid to avoid drowning the bee. This will help them regain their strength.

IMAGINE: CORAL REEF REGENERATIVE DESIGN’

From May 3 to June 23, 2024, the exhibition ‘Imagine: Coral Reef Regenerative Design’ was held at the Kunstgewerbemuseum Berlin. This experimental design exhibition portrayed coral reefs in a world facing multiple crises. The complex ecosystem of a coral reef is dying due to man-made climate change. ‘Imagine: Coral Reef Regenerative Design’ demonstrates this by crocheting white papers and displaying them under UV light to simulate the bleaching of the reefs. The exhibition then applied design processes to show viewers potential paths to save the reefs.

The exhibition created an immersive space where macro-corals, based on the open design instructions from the project “Crochet Coral Reef” by Christine and Margaret Wertheim (Institute for Figuring), highlighted coral bleaching events. The coral reef was populated with objects representing core themes of regenerative design principles inspired by Andreas Weber’s text Enlivenment. These exhibits served as conversation starters, encouraging visitors to contemplate the potential roles design can play in creating regenerative futures.

What was it about the coral reefs that inspired you? 

This might be the first biological system that is going to totally vanish. Coral is a very intuitive, colourful lively image. When I say coral reef, everyone has this image of fish going around and all these colours. The second thing you might think of is coral bleaching, which ecosystems face more and more. We found this double image an interesting set-up for thinking about a topic which is quite abstract still when we’re talking about regenerative design. 

I’m not a biologist, but what fascinates me as a design and design series is: How can such a lively and rich ecosystem build up in areas where there’s absolutely nothing? So it’s just the infrastructure of the corals, which produces this incredible ecosystem. I think this serves as a metaphor when you think of how we could enable this kind of thriving ecosystem in our context of culture. 

Was there a particular moment when you suddenly realised this was what you wanted to do?  

In the preliminary research of the exhibition, we came across an intelligence tool from the World Economic Forum. It’s a kind of network tool where whatever you press you create all these other relations. We looked into the circular design and where it goes and one goes to the ocean. This is what brought us to this crazy idea of thinking about the sea.

How do you hope people will react to the exhibition? Are you aiming to inspire a realisation of new regenerative ways of acting?

The exhibition has different aspects. One aspect is what we call the coral reef room because usually in the other exhibitions everything was in one room. So adapting to these conditions in the Kunstgewerbermuseum we had to separate things which brought us to having this more immersive installation in one room with a quite shocking projection of these kinds of biodiversity versus manmade materials piling up. The other room is what we call the regenerative design lab. This format is not only an exhibition but also covers the workshops we do with universities when the exhibition goes from one place to the other. 

You see seven objects representing the seven principles and this of course is ongoing research so it’s very difficult to find quite bold examples but we try hard. 

I think it’s not always to say look this is how we are going to do that but for example, the grass shoe is something that represents the commons. So old women, they go into the forest, and they find the secret place and there they harvest the grass and then they bring it back and they dry it. Of course, it’s not to be a kind of blueprint or recipe for Adidas or Nike to produce their shoes. But I think it should be an inspiration to look at the whole process of what kind of materials are used and who does it belong to.

I think design needs to be more informed decision-making. It needs to design all of the value chain as well. I think sometimes designers just want a simple solution so they choose bioplastic but I don’t think it’s that easy.

There was a lot of different research and technical information in the exhibition. What was the collaboration experience between everyone like? 

When we started the exhibitions last year it was this immersive installation. We said we wanted an experimental exhibition in one way which I think we have managed, especially through the exhibition’s architecture. The other thing we said is that we want it to be self-learning. This is one of the natural principles. We wanted this kind of openness and unplanned ness of things. So one of these things is the collaboration with students. We didn’t have this in Berlin but I’m really thankful for the collaboration with other bands from Kunstgewerbermuseum. The museum curator built up a modern human platform which fits very nicely. She found really wonderful objects from the Renaissance. This challenges modern design theories, as we once believed we could make nature even more beautiful by putting gold around it and telling mythological stories. It is crazy that a craftsman could remove the outer shell, leaving only the pearl surface. This highlights the need for interdisciplinary research. Museums sometimes don’t connect or question how we would beautify nature today. Revisiting past practices and understanding how to reintegrate them into our current society is crucial. We have to find better solutions very fast. 

Could you tell me about your decision to make it a travelling exhibition? 

The travelling exhibition was a possibility given by our clients. When Austria starts funding exhibitions, it sometimes comes as a kind of colonial-style thing to present how good we are and our products, our art and our architecture. This exhibition is really consciously working against this, going somewhere and being smarter than the place. For Belgrade, we are collaborating on one of the exhibits with an organisation called Co/Rizom. It’s a network which covers very talented individual crafts, mostly in the Balkan region and in Tirana. In Belgrade, we will activate one of these exhibitions to create an impact there. 

The next stops are Delhi and Bangalore is a high-tech city. It is inspiring to find local partners and to find the right place to show it.   

What is your vision for future projects? 

We have the seven principles and these were translated from a book by a German philosopher and biologist describing nature. We try to ask ‘What is regenerative design’? The simplest answer that we found is applying these principles of nature and design. This is a very short answer that brings a lot of complexity. 

With the student workshops, every student group only gets one of the principles. Of course, the next level is to have more principles being integrated. 

I’m teaching design theory at the University of Applied Arts and I proposed a project where I take care of students who are willing to challenge themselves in taking more than one project. This evolves into an educational project. 

It’s difficult, it’s challenging, but I think it’s inspiring as well.

Was there a reason you decided to use crochet? 

When designing the exhibition, we knew we wanted to follow our own title. Crocheting the coral structures intrigued us because it goes beyond typical design work done on a computer. There are only two ways these crochet patterns grow, creating hyperbolic shapes. We experimented with these forms, trying to understand what kind of new form-fitting exercise it would be. We found it interesting how they varied based on room arrangement. We chose biodegradable material that comes from a natural cycle. It became more advanced when we wanted to recreate this death situation of the corals which happens when the bleaching starts. They start throwing out the algae and they become white. In ‘Chasing Coral’ there is an incredible sequence where the coral starts going in the UV light in these blue white and violet tones and we wanted to recreate this. We found different qualities of this paper which are different kinds of white. It was an experimental process, it was a lot of playing and learning and of course, this kind of production crocheting took weeks. 

Were there any other big challenges you struggled with? 

When you have a travelling exhibition, to have a similar expression depending on the place is quite difficult and so we went for this idea of just having black rooms and this works quite well. You don’t have to paint the walls black. This is where exhibitions also waste lots of materials and resources. UV light puts everything in the same dome and you use very little energy, much less than a normal spotlight. 

The exhibition was accompanied by a lot of technical information. How did you balance the information and the visuals? 

Balancing this is challenging. The key is the transition from degenerative to regenerative practices. Many see sustainability as the goal, but it’s just a step toward what we need to achieve. People often think that ‘green’ is enough, but sustainability, even with the United Nations’ goals, is merely a transition, not the final objective.

What was your favourite aspect of the exhibition? What are you most proud of? 

I’m quite proud that it seems to draw people into various serious questions about the future in an entertaining and inspiring way. We were very afraid that there were only seven exhibits. But then we got feedback from people that it was good it was just seven because they started to think about what others were missing. I think that worked out quite well and we’ll see how we do it in the future.

Do you have a positive expectation of the reefs and humanity’s ability to regenerate? 

I think the willingness to save such beautiful ecosystems is high. I think it’s a metaphor for what design can do. It creates this beautiful future that we can buy into and we like it.

Have you had any responses that have stood out to you?

For me, the most beautiful experience is this exchange with local actors. There was one story in Sarajevo. The art university has a design course and they called it sustainable design. Then after the exhibition, the professor said to me maybe we should rename this regenerative design. 

Where do you see the coral reefs in 10 years?

The key questions are what practices we want to eliminate and what changes we seek. If people step out of their usual roles, they’ll see the need to abandon harmful practices. We’re stuck in outdated business concepts, not because we don’t know better, but because we lack trust in alternatives. This is a typical transition phase. I hope this initiative encourages some to try these alternatives.

+ Highlight Image: ©EOOS