Friday 17 December 2021

Greenpeace co-founder calls on designers to become activists and "reduce the human footprint"

Portrait of Greenpeace co-founder Rex Weyler

Designers aren't doing enough to reduce humanity's impact on the planet and should follow the lead of Greenpeace and use compelling narratives to "retell the story of design," according to the environmental charity's co-founder Rex Weyler.

"Design and architecture can play a role by really redesigning, rethinking, reimagining what it means to be a designer or an architect," said Weyler, who cofounded the activist organisation 50 years ago and edited its first newsletter.

"We have to design to give space back and to reduce the human footprint," he said.

Portrait of Greenpeace co-founder Rex Weyler
Top: Rex Weyler (left), Nina-Marie Lister (centre) and Michael Green (right) took part in a talk on Dezeen. Above: Weyler is co-founder of Greenpeace

Weyler made the remarks in a talk that was live-streamed on Dezeen to coincide with Greenpeace's 50th anniversary.

The talk, titled Design, Activism and Impact, explored whether designers and architects are doing enough to respond to environmental issues, with Weyler arguing that they need to take a more activist approach.

"Somebody has to retell the story of design in the same way that Greenpeace attempted to retell the story of humanity on Earth," he said. "Designers could take a lead in helping to reshape and retell this story for the whole world."

Image of Ron Precious and Rex Weyler of Greenpeace
Greenpeace cameraman Ron Precious (left) pictured with Rex Weyler (right) in 1976. Photo is by Matt Herron

Greenpeace is an international organisation dedicated to the protection of endangered animals, the environment and promoting environmental awareness.

Founded in Vancouver, Canada, in 1971, it grew out of opposition to US nuclear testing but found mainstream recognition after its dramatic campaigns against whale hunting, which involved piloting inflatable boats between whaling ships and the whales they were hunting.

Weyler is an American-Canadian writer and ecologist. He served as director of the Greenpeace Foundation in the 1970s, where he photographed campaigns and published its texts before later going on to co-found Greenpeace International.

He has written a number of notable books including the Pulitzer Prize-nominated Blood of the Land, a history of indigenous American nations.

 Mike Bailey, Greenpeace, blockading Russian harpoon ship in 1976
Greenpeace blocked a Russian harpoon ship. Photo is by Rex Weyler

Weyler explained that people respond to issues and data through relatable narratives, which is how Greenpeace targeted its wider cause of environmental protection through whale activism to reach an audience.

"We were focused on the fact that you can't just recite the data, you have to tell a story that society changes through narrative," said Weyler.

"Our story was about the whales and that they were for us also; we wanted to save them, but they were also a symbol for the whole Earth's ecology."

The talk saw Dezeen founder and editor-in-chief Marcus Fairs speak to Weyler as well as Canadian architect Michael Green of Michael Green Architecture and Nina-Marie Lister, professor and graduate director of Urban & Regional Planning at Ryerson University in Toronto.

Leading architects "failing to address the problem"

Green, whose Vancouver studio specialises in timber architecture, agreed that leading figures in architecture are failing to adequately address the problem.

"Now as an architect, one of the hardest things that I've had to think about is the people we celebrate, the people that truly produce a tremendous, wonderful architecture and those that sort of reach the Nobel laureate status in our profession," Green said.

"Sadly, many reach that mantle and don't use it to address the scale of the problem," he added. "They tend to build more museums and I think that's the problem, our notion of what leadership and design is is lost."

"It's a chance for us to revisit that through activism and leadership and take a lot of incredible people with the heart and the minds in the right place and give them a greater voice through the design industry."

Image of Greenpeace on a small boat
Greenpeace used storytelling to promote environmental awareness. Photo is by Rex Weyler

The panel discussed ways that architects can design buildings that are less environmentally impactful.

Lister called for architects to "design for retreat", which she said involved designing buildings that are non-indulgent and retreat from the idea of consumption.

"Sometimes it's moving to higher ground, sometimes it's recognising that the beachfront house isn't the right place to be. But at the same time, it might be retreating from the consumption of huge material costs in a building, maybe designing more humble structures," she said.

"[Buildings] don't need to be as self-indulgent," Lister added. "Design for retreat is not only a viable possibility, but it's probably a necessity, particularly if we think about where the most vulnerable people are living on the very edge of climate change."

"Build what's needed, necessary and helpful"

Weyler, Lister and Green agreed that designers and architects should break the rules of traditional construction and only build what is "needed, necessary and helpful."

"I think that the design community can contribute to by saying, Look, we not only have our careers, our job, our careers, our art to build things, but let's build what's needed, necessary and helpful, rather than just build what's ostentatious, huge, and award-winning," said Weyler.

"We can refuse commissions, we can change, the commission designers are very good at breaking the rules," Lister added. "When we have design competitions, the winner is often the group that breaks the rules. So let's use that example a little bit to help educate our clients and bring them along with us."

Partnership content

The talk was produced by Dezeen for Michael Green Architecture as part of a partnership. Find out more about Dezeen partnership content here.

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"No-one retains a building that is not loved"

Simon Allford elected next president of the RIBA

As 2021 draws to a close, RIBA president Simon Allford sets out how architects should be prioritising reuse to help fight climate change.


In the wake of the pandemic and in the face of the climate emergency, what role can – and should – architects play in shaping the future?

Globally, the built environment contributes almost 40 per cent of all energy-related carbon emissions. As a profession we therefore have a major opportunity and responsibility to have a positive impact.

This can only be achieved through deep and meaningful collaboration – from clients to consultants, contractors, manufacturers, regulators, the public and governments too. Working together, we can ensure that buildings meet the sustainability standards that can and must be achieved.

We must seek to preserve and minimise embodied carbon

Doing so will involve a radical alteration in the way we inhabit the ecosystem of our planet. And the UK's new green economy must help drive the greater design project that Buckminster Fuller presciently described in 1969 as the "Operating Manual for Spaceship Earth" – so that we may best understand, manage, preserve, and sustain our planet and its finite resources.

So, what does this mean in practice? Retrofit, or as I prefer to call it, reinvention, must play an ever more significant role in how we design.

We must seek to preserve and minimise embodied carbon through prioritising the reuse and adaptation of existing buildings, and where this is not viable, project teams should attempt to meet demanding embodied carbon targets when building new, as outlined in RIBA's 2030 Climate Challenge. But these targets are tough – and 2030 is only eight years away.

As an architect though, I remain an optimist. I believe that through sharing knowledge, or as it was termed at one COP26 event, "deep collaboration", we can make the rapid progress required. Innovation has never been about style nor actions of derring-do.

Rather it has been and should be about directly tackling the great problems we face. Our current problems demand great thinking, and so whilst exacting, these are also exciting times.

Now – be it through new build or reinvention – we must develop the maxim of former Royal Institute of British Architects president Alex Gordon: "long life, loose fit, low-energy".

Fifty years on from his presidency as we pursue a low-carbon future, we should absolutely be designing for longer life, looser fit, and lower carbon – ensuring that we are designing what I call "forever architecture".

Architecture must become permanent infrastructure

While doing this, we must also note that architecture must always lift the spirit of all who pass by and those who enter. Only then can we be sure that future generations will not only be able to adapt but that they will want to adapt the architecture they inherit.

As we know for sure, no-one retains a building that is not loved. Architecture must become permanent infrastructure, to be renewed and reused by future generations.

Simon Allford is the current president of the RIBA and a founding director of architecture studio Allford Hall Monaghan Morris. He is also a visiting professor at Harvard, a previous chairman of the Architecture Foundation, and a sitting trustee of the London School of Architecture and the Chickenshed Theatres Trust. The portrait is by Devin Blair.

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Ten key projects designed by WilkinsonEyre

Magna Science Centre, Rotherham, UK

Following the death of architect Chris Wilkinson, we have rounded up 10 of his studio's key buildings including its two Stirling Prize-winning projects.


Stratford Market Depot, Stratford, UK (1996)

Created as part of the extension to the Underground's Jubilee Line, this depot in Stratford was the studio's first major new-build project.

Described by the studio as a "supershed", the building's eleven maintenance bays are covered by a 100-metre-wide and 190-metre-long arched roof.


Princes Club pavilion, Middlesex, UK (1997)

Designed by Wilkinson while the studio was still known as Chris Wilkinson Architects, this small pavilion stands at the Princes Club waterskiing centre in Middlesex.

The pavilion was named the best small project of the year by UK magazine the Architects' Journal in 1998.


Dyson Headquarters, Malmesbury, UK (1999)

The studio created a factory and headquarters building topped by an undulating waveform roof for technology company Dyson. It completed in 1999 – the same year the studio rebranded from Chris Wilkinson Architects to WilkinsonEyre.

In 2016 the studio added a mirrored laboratory and sports hangar to the campus on the outskirts of Malmesbury in Wiltshire.


Magna Science Adventure Centre in Rotherham

Magna Science Centre, Rotherham, UK (2001)

WilkinsonEyre's transformation of a redundant steelworks in Rotherham into a Science Adventure Centre won the RIBA Stirling Prize – the UK's highest architecture accolade – in 2001.

To create the centre, which focused on telling the story of steel, the studio placed four pavilions connected by steel walkways and bridges within a huge 400-metre-long shed.


Gateshead Millennium Bridge by WilkinsonEyre

Gateshead Millennium Bridge, Gateshead, UK (2001)

In 2002 WilkinsonEyre became the first studio to win the Stirling Prize twice when its Gateshead Millennium Bridge won the award.

The pedestrian and cycle bridge over the River Tyne, which connects the Gateshead arts quarter with Newcastle, tilts to allow vessels to pass.


Guangzhou International Finance Centre, Guangzhou, China

Guangzhou International Finance Centre, Guangzhou, China (2010)

This 440-metre tower in Guangzhou, China, was the tallest building in the world by a UK architect when it completed.

The tower was awarded the RIBA Lubetkin Prize, which was awarded to the best new building outside Europe by an RIBA member, in 2012.


Gardens by the Bay, Singapore (2012)

The Gardens by the Bay waterside park in central Singapore was named the World Building of the Year at World Architecture Festival in 2012.

It features two huge glasshouses designed by the studio. One contains plants from the Mediterranean region, while the other has tropical plants and a 30-metre-high waterfall.


Mary Rose Museum in Portsmouth

Mary Rose Museum, Portsmouth, UK (2013)

Built to house the 16th-century Tudor warship the Mary Rose, this elliptical museum is clad in stained-black timber.

Located in the historic dockyard of Portsmouth, England, the building was designed to reference traditional English boat sheds.


Maggie's, Oxford, UK (2014)

Designed to resemble "a treehouse, raised above the landscape", this Maggie's centre for cancer care was built within a wooded area in the Churchill Hospital site in Oxford.

Supported on clusters of columns, the building is formed of three wings that extend into the surrounding landscape.


Gasholders

Gasholders, London, UK (2018)

At London's King's Cross, WilkinsonEyre built a series of luxury apartments within a trio of Victorian gasholders (above and top).

Each of the three wrought-iron frames was dismantled, repaired and re-erected on the site around the cylindrical housing blocks. Wilkinson and his wife purchased an apartment within the complex.

The images are courtesy of WilkinsonEyre. The photograph of Gateshead Millennium Bridge is by Graeme Peacock courtesy of WilkinsonEyre.

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The world's second-tallest building features in latest Dezeen Weekly newsletter

The latest edition of our Dezeen Weekly newsletter features the Merdeka 118 skyscraper in Kuala Lumpur, Malaysia.

Australian studio Fender Katsalidis has designed what is now the world's second-tallest building, standing at 678.9-metres-tall.

Located in downtown Kuala Lumpur, the 118-storey megatall skyscraper reached its full height with the completion of its pointed spire.

One reader said, "It looks like a trophy for the world's tallest skyscraper".

Exhibition of Long Museum West Bund by Atelier Deshaus
Eight projects by young Chinese architects that "challenge Western understanding of sustainability"

Other stories in this week's newsletter include an exhibition highlighting a new generation of Chinese architects at the Museum of Modern Art in New York, 10 home interiors that celebrate the tactility of concrete blockwork, and Michelle Ogundehin's opinion piece on Pantone's choice for colour of the year.

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Dezeen Weekly is a curated newsletter that is sent every Thursday, containing highlights from Dezeen. Dezeen Weekly subscribers will also receive occasional updates about events, competitions and breaking news.

Read the latest edition of Dezeen Weekly. You can also subscribe to Dezeen Daily, our daily bulletin that contains every story published in the preceding 24 hours.

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Thursday 16 December 2021

University of Melbourne presents 10 architectural projects

A Melbourne Soup Institute that explores the traditional "healing" powers of soup and a new design for a skyscraper in Hong Kong are included in Dezeen's latest school show from students at the University of Melbourne.

Also featured is a new typology of sports architecture and a thesis exploring the role of architecture in maintaining the identity of a town on the outskirts of Melbourne.


University of Melbourne

School: University of MelbourneMelbourne School of Design
Courses: Master of Architecture
Tutors: Virginia Mannering, Justyna Karakiewicz, Rory Hyde, David O'Brien, Djordje Stojanovic, Marijke Davey, Danielle Peck and Sam Hunter

School statement:

"The Melbourne School of Design (MSD) forms the postgraduate school of the University of Melbourne's Faculty of Architecture, Building and Planning, a creative and people-oriented built environment faculty in Australia’s leading research-intensive university.

"Our architecture students cover architectural design in the context of the creative invention of architectural futures, integrating aesthetic, technological, programmatic, environmental and social issues in the production of buildings. Students undertake a sequence of intensive design studios culminating in a research thesis.

"Our multidisciplinary approach educates and activates the next generation of built environment researchers, thinkers and practitioners.

"We teach across the built environment fields, making us unique among Australian universities, and part of a select group worldwide. This mix of expertise enables us to prepare our graduates to design solutions for an unpredictable future.

"Researchers and industry practitioners teach our programs and are leaders in public conversations about our cities and regions, shaping policy development and transforming Australian practice.

"We strive to develop imaginative, thoughtful, critical yet industrious students, complete with the appropriate skills to improve the quality of our built environment, addressing complex questions through a synthesis across disciplines.

"We provide a world-recognised education which inspires and enables our graduates to create and influence our world."


A visualisation of an investigation of a gold course in Mildura

Junk Tectonics, Feral Communities: the Metamorphosis of the Mildura Golf Club by Amelia Griffin-Toovey

"Through the investigation of a golf course upon the arid lands of Mildura, this thesis seeks to overturn the extractive hierarchies embodied by this site: ecologies, communities and junk.

"This thesis proposes a staged metamorphosis of the Mildura Golf Course and its clubhouse. It uses junk tectonics and compositional devices to create experimental spaces for ecologies and communities.

"The interventions transform the site from an exclusionary space favouring the few to an experimental one with multiple users. It also fosters symbiotic relationships rather than extractive ones."

Student: Amelia Griffin-Toovey
Course: Master of Architecture
Tutor:
Virginia Mannering


A visualisation of a grey and brick building

Between Ground and Sky: Seeing Old and New Tallangatta by Hermione Hines

"The Murray River has been diverted, dammed and disfigured into a regulated and artificial system. The Hume Dam is one such irreversible scar, which has drastically impacted surrounding towns, such as Tallangatta.

"Drowned as a result of the expansion of the Dam in 1956, Tallangatta was reborn. Old Tallangatta now exists as submerged traces in the landscape.

"Present-day Tallangatta, largely consisting of buildings relocated during the flooding and is known locally as The Town that Moved. This thesis provides modes of observation to allow for the deeper histories of these twin towns to be understood."

Student: Hermione Hines
Course:
Master of Architecture
Tutor:
Virginia Mannering


A visualisation of a new skyscraper in Hong Kong

Contemporary Peach Blossom Stream: Chinese Food, Chinese Garden, and Poetic Life by Jiaqi Fu

"Envisioned as the new hybridisation of the skyscraper, Chinese garden and Chinese food, my project helps inhabitants of the stressful and fast-faced Hong Kong metropolis achieve a healthier and slower poetic life.

'The slowly consumed and nutritious balanced Hong Kong cuisine poon choi is used as a metaphor on how to scatter and connect the functional programmes which serve a variety of regional Chinese cuisines.

"As visitors go up along the controlled pathway, they can have a serial vision of different sceneries and experience one scene from different positions and achieve unique feelings from certain framed views."

Student: Jiaqi Fu
Course: Master of Architecture
Tutor: 
Justyna Karakiewicz


A visualisation for new typology of sports architecture

Massively Multiplayer Architecture (MMA): E-rena by Jiaao Wang

"E-rena is a new typology of sports architecture. It will create a new system of games overlaying on top of the existing urban layer by distributing a number of beacons and connections to encourage players' movement.

"Rather than being limited to a centralised sports centre, players are provided with a platform where they are allowed to create and start their sports games everywhere on the campus.

"The project borrows mechanics from MMORPG and pervasive video games, exploring the possibility of the sports that could be created and experienced by massive multiplayer in both the real and virtual world."

Student: Jiaao Wang
Course:
Master of Architecture
Tutor: 
Justyna Karakiewicz


(re)Collecting Rural: Memory, Heritage and a Rural Identity Under Threat by Jeremy Bonwick

(re)Collecting Rural: Memory, Heritage and a Rural Identity Under Threat by Jeremy Bonwick

"In a climate of expansion and homogenisation of culture and the built environment, the continuing urban bleed of Melbourne into its surrounding rural towns threatens to supersede and suppress a local identity.

"This thesis examines the role of architecture and the museum typology in maintaining the local identity of Warburton – a peri-urban town on the outskirts of Melbourne – through interactions with heritage, relic, and artefact.

"A disused food factory is taken as the existing architectural condition, imprinted with traces of past events, practices and paradigms, and transformed into a factory of identity."

Student: Jeremy Bonwick
Course:
Master of Architecture
Tutor:
Rory Hyde


Middle Ground: Co-production of place as a means to counter displacement and other evils of development in Bandung, Indonesia by Archana Ramesh

Middle Ground: Co-production of Place as a Means to Counter Displacement and Other Evils of Development in Bandung, Indonesia by Archana Ramesh

"Situated in a Kampung in Bandung, Indonesia, this thesis takes on the machinery of displacement and the asymmetrical aspirations of the site's stakeholders, calling for a co-production of architecture through a dialogue-based approach.

"The thesis calls for architecture to reorient itself towards the context and operate with local knowledge acquired through an investigation of socio-spatialities to negotiate the numerous tensions of the context to produce a framework in place of 'instant formalisation' that threatens the local way of life."

Student: Archana Ramesh
Course:
Master of Architecture
Tutor:
 Rory Hyde


The River Land by Gina Dahl

The River Land by Gina Dahl

"We have a responsibility to ensure 'good design' is within the country. We should embrace holistic thinking that recognises the ancient knowledge of the traditional custodians and respects the country, its rights and legacy.

"Indigenous knowledge systems carry deep respect and understanding for the country – a connection expressed every day through art and stories in the Karungkarni Art and Culture Centre.

"This thesis explores the role that a country can play in changing methodologies towards design, and how design can become a celebration of the country in Kalkarindji and beyond."

Student: Gina Dahl
Course:
Master of Architecture
Tutor: 
David O'Brien


Independent Design Thesis by YuHan Feng

Independent Design Thesis by YuHan Feng

"This research is based on Habraken's concept of 'providing infrastructure in which users would find space to control the layout of their own dwelling units which were developed in the 1970s'.

"This project explored how to empower residents further to customise and reconfigure dwelling spaces according to the modern-day lifestyle that is increasingly becoming dynamic and nomadic.

"The design proposal incorporates computational systems and modular timber fabrications to enable the 'support and infill' scheme and attaches mobility and function to the vertical and horizontal partitions."

Student: YuHan Feng
Course: Master of Architecture (Independent Design Thesis)
Tutor: 
Djordje Stojanovic


A visualisation of glassophobia

Beirut Year Zero: Shifting, Shielding by Zhuoqing Eve Li

"On August 4, 2020, a devastating explosion hit the Port of Beirut at 6:07 pm. With shattered glass raining down and covering the streets, glass is blamed for causing the majority of recorded injuries and deaths, as well as a new phenomenon of anxiety – glassophobia (Daronboz, 2020).

"Before people can trust glass, how can we curate a trauma-informed paradigm that provides emotional safety and empowers emotional expression reacting to glassophobia?

"This thesis does not aim at curing, but exploring a shielding and narrative system in response to individual perceptions of different phases, materialising the intangible trauma of glassophobia."

Student: Zhuoqing Eve Li
Course:
Master of Architecture
Tutor: 
Marijke Davey


A visualisation of the Melbourne Soup Institute

Melbourne Soup Institute by Ziyue Kristy Zhang and Isabel Solin

"The Melbourne Soup Institute merges two sides of culinary production: the human and machine-made. The project encourages collisions between these two modes in order to give rise to something new.

"Inspired by soup production and the architectural language of the existing 19th-century building, a new 'human' skin and 'mechanical' structure are inserted into the existing Italianate fabric.

"Romantic notions of soups healing and restorative powers are fused with an anthropogenic flavour of a possible machine-made future; the line between blurred and discursive."

Student: Ziyue Kristy Zhang and Isabel Solin
Course:
Master of Architecture
Tutors: 
Danielle Peck and Sam Hunter


Partnership content

This school show is a partnership between Dezeen and the University of Melbourne. Find out more about Dezeen partnership content here.

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