SUSTAINABILITY by DESIGN Creative Collaborations and Sustainable Practice

SUSTAINABILITY BY DESIGN Creative Collaborations and Sustainable Practice

KERRI AINSWORTH

A thesis submitted in fulfilment of the requirements for the degree of Master of Design (Honours)

2011

School of Design Studies College of Fine Arts University of New South Wales

i CERTIFICATE OF ORIGINALITY

I hereby declare that this submission is my own work and to the best of my knowledge it contains no material previously published or written by any other person, nor material which a substantial extent has been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere is explicitly acknowledged in the thesis.

I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged.

Signed

Kerri Ainsworth

ABSTRACT

This research examines some of the ways contemporary creators of public art and event design are expressing their concerns for the environment, through their work. Artists and designers working in this field come from a variety of creative disciplines and can include set designers, architects, lighting designers and sculptors. They often work collaboratively, across a number of disciplines, blending art, design and activism, believing their creations help enrich the life and culture of a community and raise awareness about social issues. These groups not only gather and share information; they are pooling resources and integrating a range of technologies and processes, not normally associated with a specific artistic pursuit.

Artists and designers whose work and creative practice is consciously mindful of its environmental impact will be analysed. The importance of their role as educators, using their creations to build awareness and promote change in community attitudes, will also be discussed. And how the boundaries between art and design are becoming increasingly blurred with the emergence of an exciting and innovative new culture of cross-disciplinary creation.

This study initially surveys published material; including an historical and theoretical analysis of the subject and proceeds through a series of case studies, studio investigations and interviews with contemporary practitioners. The research will place an emphasis on the work of contemporary artists and designers who are currently incorporating sustainable practice into their work. This includes investigating new low energy lighting technologies and power systems, renewable resources and how best to utilize these in the design and creation of objects and spaces.

Conclusions drawn from the study reveal that while many artists and designers are eager to adopt sustainable practice wherever possible, there are several obstacles to be overcome. While sustainable technologies have been widely integrated into their work, sustainable materials are often too expensive or not readily available. But most importantly, the creative industries have a huge influence on the public, and as such, are a perfect vehicle to raise awareness and lead by example.

ACKNOWLEDGEMENTS

The original inspiration to write this thesis evolved as a natural progression from a commission, commencing in late 2008, for the Australian Centre for Event Management. I would like to thank Wendy Symonds for her wonderful idea to create a series of sculptural installations to demonstrate sustainable practice in a visually exciting way, for inviting me to design and create the pieces, and for her support and enthusiasm throughout the project. Wendy’s conviction that the visual arts and design are powerful educational tools has become my own and was the direct inspiration for this research.

I would like to express my gratitude to the College of Fine Arts for enthusiastically supporting my research and for awarding me a travel grant which enabled me to interview art and design practitioners in the UK and Italy, and the opportunity to present at an important design conference in Rome, which resulted in the publishing of my paper.

I would like to express my appreciation and thanks for the guidance, encouragement and support of my supervisor Carol Longbottom, whose enthusiasm and belief in my work was vital to its completion and to my co-supervisor Rod Bamford, for his erudite ideas and wise counsel.

The writing of this thesis was greatly enriched by the contributors who generously offered their time and knowledge. A special thanks to Allan Giddy who spent hours with me discussing his views on art and sustainable practice, all of which was invaluable to my research. I would like to thank Warren Langley, Steve Howarth, Mary-Anne Kyriakou, Martin Goodrich and Gianluigi Ruju whose work, ideas and commitment to developing best sustainable practice was truly inspirational.

iii

LIST OF FIGURES

FIGURE PAGE

3.1 “Noon Solar Bag” Palmer & Fairbanks, USA 2004 35

3.2 “Excerpts from the “Universal Lab” Peterman, USA 2005 35

4.1 “Cloud of Bats” Middleton, McDermott & Baxter, Sydney 2009 47

4.2 “Cycle!” Clouston Associates, Sydney 2009 47

4.3 “Lighting The Sails” Eno, Sydney 2009 48

5.1 “Weather Cranes” Giddy, Sydney 2007 53

5.2 “Aspire” Langley, Sydney 2010 53

5.3 “Light Blossom” Philips 2009 58

5.4 “Spiralight” Carpenter, Cologne 2007 58

5.5 Star City Xmas Tree, Ainsworth, Sydney 2009 61

5.6 OLED 61

5.7 “Volume” United Visual Artists & Del Naja, London 2006 62

5.8 Light Emitting Plasma 62

5.9 “Powerseed” UeBERSEE, Pasadena, USA 2007 66

5.10 “Siemens Superstar” Pendry, Munich 2008 66

5.11 “Sonumbra” Gmachi & Wingfield, Loop pH, London 2008 69

5.12 “Silicon Forest” Borello, Portland USA, 2004 69

5.13 “Lux Nova” Hall, Vancouver 2008 71

5.14 “Solar(Eco)System” Macca and Masi, United Arab Emirates, 2010 71

5.15 “Interior Spaceship” Ainsworth, Sydney 2006 104

5.16 “Tree Cycling in the Rocks” CMA, Sydney 2010 104

7.1 “Aspire” Goldworthy, USA 2008 121

7.2 “Aviary For Humans” Mauri, Italy 2006 121

SUSTAINABILITY BY DESIGN

CREATIVE COLLABORATIONS & SUSTAINABLE PRACTICE

TABLE OF CONTENTS

PAGE

ABSTRACT ii

ACKNOWLEDGEMENTS iii

LIST OF FIGURES iv

1. INTRODUCTION

1.1 INTRODUCTION TO THE STUDY 1

1.2 STATEMENT OF PURPOSE 2

1.3 RESEARCH FOCUS AND QUESTIONS 3

1.4 DEFINITION OF TERMS 4

1.5 LIMITATIONS 7

1.6 RATIONALE 8

1.7 STRUCTURE 8

PART ONE: THEORETICAL ANALYSIS

AN EXAMINATION OF SUSTAINABLE PRACTICE AND ITS IMPACT ON PUBLIC ART, EVENT DESIGN AND EXTERIOR INTERVENTIONS.

2. SUSTAINABLE DESIGN

2.1 PRELUDE 10

2.2 THE MEANING OF SUSTAINABLE DESIGN 11

2.3 HISTORY OF SUSTAINABLE DESIGN 13

2.4 THE ROLE OF THE DESIGNER 16

2.5 CONCLUSION 21

3. SUSTAINABLE ART

3.1 PRELUDE 22

3.2 THE MEANING OF SUSTAINABLE ART 23

3.3 HISTORY OF SUSTAINABLE ART 27

3.4 A SYNTHESIS OF SUSTAINABLE ART & DESIGN 30

3.5 RE-USE, REDUCE & RECYCLE 33

3.6 THE IMPLICATIONS OF SUSTAINABILITY FOR

CONTEMPORARY ART 37

3.7 CONCLUSION 39

4. THE IMPLICATIONS OF SUSTAINABILITY FOR EVENT

DESIGN & PUBLIC ART

4.1 PRELUDE 40

4.2 PUBLIC ART & THE EVENTS INDUSTRY 41

4.3 PUBLIC ART & SUSTAINABLE PRACTICE 42

4.4 A FUSION OF PUBLIC ART, EVENT DESIGN & SUSTAINABLE

PRACTICE 45

4.5 CONCLUSION 49

PART TWO: STUDIO INVESTIGATIONS

A STUDY OF ENVIRONMENTALLY SUSTAINABLE MATERIALS, TECHNOLOGIES AND PROCESSES: EXPERIMENTATION, CASE STUDIES AND INTERVIEWS.

5. SUSTAINABILITY AND THE CREATIVE PROCESS

5.1 PRELUDE 50

5.2 SUSTAINABLE TECHNOLOGIES 50

5.3 SUSTAINABLE MATERIALS 79

5.4 THE GREENER PRACTICE 95

5.5 SUSTAINABILITY & THE TRIPLE BOTTOM LINE 109

5.6 CONCLUSION 112

6. CONCLUSION

6.1 PRELUDE 113

6.2 RESEARCH RESULTS 114

6.3 RESEARCH LIMITATIONS 117

6.4 RESEARCH IMPLICATIONS 118

6.5 SEMIOTICS & INNOVATION: TOWARD A SUSTAINABLE FUTURE 120

6.6 CONCLUSION 123

7. PERSONAL PRACTICE

7.1 PRELUDE 125

7.2 TOTEMS 126

7.3 DISCS 144

7.4 FORESTS OF THE TIDE 151

APPENDICES

CONFERENCES, WORKSHOPS & FORUMS 176

EXHIBITIONS 177

PUBLISHED WORK 177

BIBLIOGRAPHY 179

vii CHAPTER 1

INTRODUCTION

“The world will not evolve past its current state of crisis by using the same thinking that created the situation” (Einstein 1946). AMRINE 1946:7

1.1 INTRODUCTION TO THE STUDY

Art and design in its many forms, whether it is painting, sculpture, music or architecture, often reflect our times. They encapsulate the mood of the era and speak of issues, which are important to the individual and the community as a whole. International media suggests, that global warming and environmental sustainability are issues, which are uppermost in today’s thinking.

The idea of recycling and sustainable practise as a politically correct action is a fairly recent phenomenon. Artists and designers, working in this field, do so for political and environmental reasons, others find it fascinating and challenging to create something new from something old.

My journey into this field began in 2008, when I was commissioned to create a series of sculptural installations for the Australian College of Event Management (ACEM1), University of Technology Sydney (UTS) which would address the current issue of global warming by demonstrating how beautiful artworks could be made, using sustainable practice.

These artworks, designed for inclusion in a conference on the same topic, would act as an educational tool, demonstrating the various ways sustainable practise could be adopted.

The adventure began, at Reverse Garbage, a company, which collects and recycles unwanted industrial material and has recently included scrap metal yards and engineering workshops. The idea of a process of metamorphosis appealed to me; transforming something from one thing into another; as does the potential to recreate, re-

1 The Australian Centre for Event Management (ACEM) was established in 1999 to further develop and support the work of the University of Technology, Sydney in event management education, training and research. ACEM forms part of the School of Leisure Sport and Tourism in the Faculty of Business.

use and recycle. I found the process extremely challenging. As a set designer, working in film, television and the events industry, I was accustomed to a process of research, design, sourcing materials and finally, fabrication. However I found working with recycled materials uniquely different, as it was a case of the materials inspiring the artwork, not the reverse.

The artworks produced were made from recycled materials and “low energy” lighting. The commission culminated in the production of three installations: a group of totems which reflect the Australian bush regenerating after fire, a series of circular discs and a mangrove forest constructed in recycled aluminium.

The installations were displayed on three separate occasions; at a function at the Museum of Contemporary Art (December 2008), again at the city campus of UTS (April 2009) and finally at the conference, “Meeting the Challenge of Sustainable Development: How do public and corporate events engage with the global agenda? “ on the Gold Coast, in July 20092.

Art and design created for public exhibition are great vehicles for expressing ideas and creating awareness. As such they are powerful educators, inventing new and visually descriptive ways to illustrate, in a public forum, how best sustainable practice can be achieved.

1.2 STATEMENT OF PURPOSE

The aims of this study are to research the development of environmentally sustainable practice in the creation of sculptures, installations and environments using a synthesis of low energy technologies and recycled materials, and apply this knowledge to my own practice. Case studies based on the implementation and experimentation will be developed as part of my research.

2 http://www.acem.uts.edu.au/

The Research Project will involve a review of both past and current practice combining documentation (both visual and written), interviews, and an application of this research through, experimentation, design and production.

The research will place an emphasis on the work of contemporary artists and designers who are currently incorporating these new practices into their work, and who have an awareness of the impact of this on their environment. This study will initially survey published material and will proceed through a series of interviews with contemporary practitioners.

It will also include documenting discussions with experts in the field of new technologies such as lighting, audio/visual and special effects. And with suppliers, investigating the unique characteristics of their products and how best to utilize these qualities in the design and creation of objects and spaces.

I also hope to expand my current scope of work to include the design of installations for public spaces using recycled materials and environmentally sustainable technologies.

And finally, I hope to help increase awareness of how artists and designers can reduce their carbon footprint, by demonstrating best sustainable practice through lecturing, seminars, conference papers, published work, and the creation of art and design.

1.3 RESEARCH FOCUS AND QUESTIONS

The following questions formed the focus of my research:

1. How can the design of installations & events for public spaces be developed as environmentally sustainable practice?

2. How has the history of environmental sustainability influenced the theory and practice of art and design?

3. Who are the contemporary designers and artists working in this field?

4. How does sustainable practice differ between the two disciplines, art and design?

5. What are the attitudes within the industry toward adopting sustainable practice?

6. What are the current practices, which have been adopted by the industry?

7. What is art’s relation to other practices that are concerned with environmental sustainability? How do we distinguish its particular characteristics from those of architecture, landscape design, graphic design, or community action, especially when the projects appear to be similar?

8. How do we feel about art that moves away from ideas and whose intent is to produce a useful result?

9. What about artists who generate ideas and plans rather than objects or actions?

10. How can art and design be used as an educator to create a greater public awareness around the issue of sustainable living?

1.4 DEFINITION OF TERMS

Definitions pertaining to this study:

Sustainable: In the context of this thesis the term, sustainable, refers to the practise of creating something new, which has a minimal long-term effect on the environment. It refers to environmentally sustainable practice.

Triple Bottom Line: An expansion of the traditional reporting framework to include social, economic and environmental performance. “People, planet and profit” succinctly describes the triple bottom lines and the goal of sustainability (Elkington 1997).

Green, Eco, Environmental & Sustainable Design: These are different labels given to the practice of designing, with the intent to minimize negative environmental impact through skillful, sensitive design (McLennan 2004).

Cradle to Cradle: This term refers to a holistic economic, industrial and social framework that seeks to create systems that are not just efficient but essentially waste free (McDonough & Braungart 2002).

Greenwashing: Whereby corporations highlight their environmentally friendly practices primarily as a public relations device without significantly changing their overall business practices (Smith 2005).

Low-impact materials: non-toxic sustainably produced or recycled materials that require little energy to process (Network 2011).

Energy efficiency: Manufacturing processes and products that require reduced energy input for the same or greater output (Diesendorf 2007).

Eco-efficiency: This is a term used by McDonough and Braungart, meaning, “doing more with less”. In this context it means a transformation of industry from a system that takes, makes and wastes into one that integrates economic, environmental and ethical concerns (McDonough & Braungart 2002).

Biological Nutrient: is a material or product that is designed to return to the biological cycle, by decomposing and returning as nutrients to the soil (McDonough & Braungart 2002).

Technical Nutrient: is a material or product that is designed to retain its high quality in order that it may be re-used multiple times and therefore return to a technical cycle (McDonough & Braungart 2002).

Biofuel: refers to a wide range of plant material used to create fuel (Morel 2011).

Ethanol: is produced from fermented sugar, which can be derived from corn, wheat, sugar cane and sugar beet. It can be blended with petrol and gas or be used on its own in a flex- fuel vehicle (a vehicle adapted for its use) (Morel 2011).

Biodiesel: have similar properties to petroleum diesel. It is produced by processing vegetable oil, such as soybean oil, palm oil, rapeseed/canola oil, wild flaxseed oil and waste cooking oil (Morel 2011).

Recycling: To extract, reuse, recondition and adapt to a new use or function. It involves the processing of used materials into new products to prevent waste of potentially useful resources (The American Heritage Dictionary of the English Language 2009).

Biodegradable: capable of being decomposed by bacteria or other biological means (Collins English Dictionary 2009).

Photodegradation: is the chemical transformation of a compound into smaller compounds caused by the absorption of ultraviolet, visible, or infrared radiation (light) (International Union of Pure And Applied Chemistry. 1996).

Cross-disciplinary: In the context of this thesis, cross-disciplinary, refers to creative collaborations that cross boundaries into other, often very different fields of expertise.

Biomimicry: redesigning industrial systems on biological lines (Hawkin, Lovins & Lovins 1999).

Renewable materials: Refers to materials that can be replaced by natural processes at a rate comparable or faster than its rate of consumption by humans (Renewable Raw Material 2011).

Renewable resource: any resource, such as wood or solar energy, that can or will be replenished naturally in the course of time (The American Heritage New Dictionary of Cultural Literacy 2005).

Gaia: is the name given by scientist James Lovelock to his hypothesis proposing that the biosphere and the physical elements of the Earth are closely integrated to form a complex interacting system. According to his hypothesis, the Earth works as a single, self-regulating living organism or closed system (Lovelock 2009).

LED: Light-emitting diodes are an energy efficient light source, which produces a bright, cool light, and have low energy consumption (LED 2005).

Photovoltaic Cells: Are crystalline silica panels, which convert sunlight (solar energy) directly into electricity ('Renewable Energy Systems' 2011).

Fibre Optics: Refers to thin, flexible, transparent glass fibres that act as a "light pipe," to transmit light between the two ends of the fibre (Thyagarajan & Ghatak 2007).

Metal Halide Lighting: Metal halide lamps produce light by passing an electric arc through a mixture of gases. The compact arc tube contains a high-pressure mixture of argon, mercury, and a variety of metal halides. It produces a high light output for their size, making them a compact, powerful, and efficient light source (McGraw-Hill Dictionary of Scientific & Technical Terms 2003).

1.5 LIMITATIONS

As with all forms of investigation, interpretation and bias are coloured by a number of factors. The author’s background, the time in which they are writing and their selection criteria, will all impact on the research.

Firstly, while some of the interviews were conducted overseas in order to give a broader perspective to the subject, it must be noted that I live in Sydney. Therefore, most of the interviews were carried out in that city. I have carefully chosen practitioners, who best represent a cross-section of the creative community, pertaining to my research. The work of each illustrates one or more of the principles of sustainable practice. I am aware however, that if a wider sampling was taken, differences in attitudes and work practices adopted could become apparent from culture to culture.

Secondly, the research was carried out from March 2009 to August 2011. The limitations of conducting research over a short period need to be noted. Due to rapid changes in ‘green’ technologies through the development of new sustainable products and materials: some of the information in this thesis will be quickly outdated and superseded.

Finally, my selection criteria was based on finding interview subjects whose work represent the different types of sustainable practice, outlined by art historian and theorist Victor Margolin (chapter 3, p.26). By doing so, I believe I have given the reader a broad insight

into the different approaches adopted by public artists and event designers, in implementing best sustainable practice at the current time.

1.6 RATIONALE

Much has been written about design and sustainable practice; much less is documented about the principles specific to the arts. However, there seems to be scant information about sustainable practice pertinent to this study; public art and event design. The events industry worldwide is growing rapidly, so it is important that its practitioners be aware of best sustainable practice in all its forms. Over the past few years, industry leaders have begun formulating sustainable event guidelines. In her book, “Sustainable Event Management: A Practical Guide,” event manager Meegan Jones focuses on developing sustainable management solutions for live events (Jones 2009).

To the best of my knowledge, nothing has been specifically written about event design and sustainable practice. My aim, therefore, is not only to address this need, but also to understand its implications more fully. I believe that combining the knowledge gained from interviewing leading industry practitioners, with my own studio practice, I can help develop a better understanding of the subject by visually articulating the research outcomes.

1.7 STRUCTURE

The thesis is written as a scholarly work and as such adheres to academic writing convention and responsible research practice. The work is divided into two parts. Part 1 is an examination of sustainable practice and its impact on the disciplines of public art and event design. It consists of three chapters. The first two chapters provide a theoretical underpinning of the subject: exploring what is meant by sustainability and how it relates to the practice of art and design. This is framed in a historical context, exploring the ideas of a number of theorists, educators, writers and curators, while giving examples of sustainable practice through the work of contemporary practitioners. The third and final chapter in Part 1, focuses on the implications of this study with regard to public art and event design. Public art and event design can be difficult to define as the boundaries between the two disciplines are often blurred. For this reason, in the context

of this thesis, public art and event design have been viewed as one cohesive disciplinary form.

In conjunction with the theoretical study, there will be a studio component consisting of the creation of three installations, which will involve individual experimentation and implementation. Part 2 of the thesis consists of three chapters, which take the form of case studies, interviews, forums, talks and conference papers. Chapter one is a detailed study of environmentally sustainable materials, technologies and processes relevant to the creation of public art and event design. Chapter two is a series of case studies of my own work, whereby through the use of sustainable practice, experimentation and exhibition, I have drawn my own conclusions.

Finally, the concluding chapter will consolidate the theoretical and studio findings of the research into a conceptual framework. The information emerging from this research will help better define what is required for innovative ‘green’ solutions and how that can best be put into practice.

PART ONE: THEORETICAL ANALYSIS

AN EXAMINATION OF THE CREATION OF PUBLIC ART INSTALLATIONS & EVENT DESIGN AS SUSTAINABLE PRACTICE.

CHAPTER 2

SUSTAINABLE DESIGN

“In the broadest sense, a designer is a human being attempting to walk the narrow bridge between order and chaos, freedom and nihilism, between past achievements and future possibilities.” PAPANEK 1955:7

2.1 PRELUDE

In 1968, James Lovelock, the British atmospheric chemist, proposed that the Earth's biosphere, atmosphere, oceans and soils form a single living organism, which he called Gaia after the Greek Earth goddess. The Gaia hypothesis, succinctly, suggests that Earth is a self-regulating, self-sustaining entity that continually adjusts its environment in order to support life (Baerlocher 1990).

According to designer and author, Victor Papanek, Lovelock’s theory however, does not assume that there will be a place for our species on a planet that has changed itself as a result of human assaults on its biodiversity and balance. In fact, we now have truly attained the power to change the natural order of the earth and throw it out of harmony.

Papanek feels very strongly that the present concern for the environment cannot now be dismissed as a fashion, as it was during the early 1970s, or as pure panic over the sustainability of life on earth. Rather, he believes that it is a great spiritual rebirth or re- awakening, a desire to re-establish closer links between nature and humankind. “The changing environment of our fragile planet is a result of the things that we do and the tools that we use. Now that the changes that we have brought about are so major and so threatening it is imperative that designers and architects play their part in helping to find solutions" (Papanek 1995, p.8).

The purpose of this chapter is to briefly outline what is meant by the term sustainable design and to examine its origins, key principles, and the role and responsibility of the designer.

2.2 THE MEANING OF SUSTAINABLE DESIGN

The term ‘sustainability’ has taken on a variety of meanings over the 25 years since being incorporated into our lexicon. It was first used in 1987 when The World Commission on Environment and Development, headed by the Norwegian Prime Minister Brundtland, defined it as, “development that meets the needs of the present without compromising the ability of future generations to meet their own needs” (Brundtland 1987, p.43).

The expression ‘triple bottom line’ reporting, first coined by John Elkington in his 1998 book “Cannibals with forks: the Triple Bottom Line of 21st Century Business” refers to sustainability as practice measured in terms of social, economic and environmental performance (Elkington 1997). For the purpose of this thesis, the term sustainable practice will refer only to the environmental aspects of sustainability.

Writer and theorist, Victor Margolin prefers to put the connection between the social and the environmental into sharper focus: “the strategy for sustainable development aims to promote harmony among human beings and between humanity and nature” (Brundtland 1987).

While McDonough and Braungart in their paper “The Hannover Principles: Design for Sustainability“ write “designing for sustainability requires awareness of the full short and long-term consequences of any transformation of the environment. Sustainable design is the conception and realization of environmentally sensitive and responsible expression as a part of the evolving matrix of nature” (McDonough & Braungart 1992, p.3).

In a broad sense, sustainable design is the practise of creating something, which has a minimal long-term effect on the environment. Sustainable design aims to consciously produce spaces, products and services that reduces the use of non-renewable resources, minimizes environmental impact and connects people with the natural environment. It is a reaction to the global “environmental crisis” by using clever design to substitute less harmful products and processes for conventional ones.

It means using new technologies which are more energy efficient, fewer limited resources, not depleting natural resources, or directly or indirectly polluting the environment and can be reused or recycled at the end of their useful life ('Chemistry Innovation' 2009).

It involves the use of recycled materials, materials made using organic matter, that are biodegradable or their extraction and manufacture has little or no impact on the environment.

It incorporates sustainable practises and processes, whereby purchasing carbon credits, can offset carbon emissions, created by the production of the designed object or space.

While the practical application of using sustainable materials and techniques may vary among disciplines, some common principals are:

• Choosing non-toxic sustainably produced or recycled materials, which require little energy to process.

• Using manufacturing processes and production, which require less energy.

• Producing longer lasting and better functioning products that will have to be replaced less frequently.

• Using materials, processes and systems, which are designed for a commercial afterlife (Anastas & Zimmerman 2003).

• Redesigning industrial systems along biological lines (Hawkin, Lovins & Lovins 1999).

• Choosing materials, which are biodegradable, from renewable sources, which can be composted when their usefulness has been exhausted.

• Sourcing materials locally.

Sustainable design has finally come of age. Although by no means fully realised, developed or accepted into mainstream practice, it is beginning to be implemented into design education. There now seems to be a broad consensus that both designers and consumers can no longer ignore environmental issues (Madge 1997).

In recent years there has been a significant change in awareness and attitude toward sustainable design; from simply getting environmental issues onto the agenda, and

establishing broad parameters of green design practice, to creating its own momentum, and with it, a history and a polemics (Madge 1997).

The significance of this section in the overall argument is to understand more fully what is meant by sustainability and more specifically what is involved in the creation and production of sustainable design. With this knowledge I hope to formulate guidelines and apply the principles to my own practice.

2.3 HISTORY OF SUSTAINABLE DESIGN

In this next section, I will discuss the development of sustainable design in a historical context and how shifts in awareness have changed both the designer’s as well as the public’s awareness of its importance and relevance to our lives and the health of the environment.

The historic roots of the environmental movement date back to the 1960s and early 70s, with the green movement coming into the mainstream in the 1980s (Knight 2009).

Since the 1960s there has been constant debate and discussion in environmental literature regarding whether this new paradigm requires fundamental change to industrial society, or merely modifications to existing practice, together with debate over the degree of change required to overcome the current ecological crisis (Madge 1997).

Growing public concern for the environment was sparked by Rachel Carson’s book “Silent Spring”, published in 1962, which highlighted the dangers of pesticides to both eco-systems and humankind. Then in 1968 the scientist James Lovelock wrote his Gaia hypothesis proclaiming the earth to be a self-regulating organism. A year later the environmental group, Friends of the Earth was formed. Then in 1970 Greenpeace was founded (Knight 2009).

It was the hippie generation who first began to question conventional design as being harmful to the planet. At the same time, designer and educator, Victor Papanek and a small group of other pioneers in the design world, started to examine ways of producing products that used less energy and made use of recycled materials (Knight 2009).

Author and designer, Papanek, criticizes the design profession for creating products wasteful of environmental resources and submitting to consumerism. He challenged designers to produce more ethical products, and energy efficient technology for people in developing countries, and products, which would not be harmful to the environment. He called for a new design culture based on social responsibility (Knight 2009).

In the UK, the Design Council stimulated greater awareness through their exhibition “The Green Designer” in 1986. Its main focus was to demonstrate that green design was not ‘anti-industry’. The exhibition focused on examples of specific products and formulated “10 Questions for the Green Designer” based on energy use, durability, recyclability and acceptance in the marketplace. Five years later, the Design Centre had a similar exhibition called “More From Less” which also included “Cradle to Grave Guidelines for Design” (Madge 1997).

In 1987 the Brutland Report3 was published, introducing the term “sustainable development.” The term was much broader, with a more global perspective regarding consumption of energy and resources. Instead of only being concerned with the environmental impact, sustainable design, included the impact on the population and incorporates social and ethical constraints (Knight 2009).

By the 1990s the movement was more evolved in European countries, than elsewhere, although, at that time, some important new initiatives were developing in Australia. In 1990, the EcoDesign Foundation in Sydney was established. It promoted “ecological sustainability through industrial re-creation,” (Ecodesign Foundation Newslines 1, Sept 1991). There, philosopher Tony Fry and Ann-Marie Willis focused on the immediate task of ‘greening’ products and the longer-term goals of redefining design and industrial practice (Madge 1997).

By 1992 when the Earth Summit in Rio de Janeiro convened, global environmental problems had already reached critical proportions. These problems were fully described in the conference report, as were abundant proposed solutions. For the first time the world had a document that ratified extreme measures to counter the alarming growth of global

3 The Brundtland Report alerted the world to the urgency of economic development, which could be sustained without depleting our natural resources or harming the environment.

warming. The resulting “culture of sustainability” (Margolin 1998, p.85) meant that individuals and groups worldwide now had a set of principles to work with and a basis on which to develop strategies for change (Margolin 1998).

Also in 1992, architect William McDonough and chemist, Michael Braungart were asked to develop a set of design principles for the 2000 World’s Fair. The resulting paper, “Hannover Principles: Design for Sustainability” was conceived to lay the foundation for a positive and hopeful new paradigm. Principle Six for example: “Eliminate the concept of waste” (McDonough & Braungart 2003, p.1), was a radical new concept. Designers and engineers were typically focused on reducing waste. They believed by using less energy and fewer materials and limiting the amount of toxic chemicals released into the air, water, and soil it would guarantee a sustainable world. But Principle Six demands something entirely different. Rather than attempting to mitigate the destructive effects of architecture and industry, eliminating the concept of waste demands that we begin to see design in a wholly positive light (McDonough & Braungart 2003).

In the same year, the Design Research Society organized a conference called "The Greening of Design" in Manchester where it addressed environmental issues concerning new product development. "The vital issues of the coming decades will revolve around the nature of global consumption and distribution. Fundamental choices will have to be made about lifestyles, patterns of production and consumer priorities. Planet-sustaining decisions must be based on extensive and wide ranging information about the nature of our consumer society and those who service it” (Adams, Carruthers & Harmil 1990, p.48).

In 1993, the O2 Group4 held a conference called “Striking Visions” outlining their perception of a sustainable lifestyle, and how design can make a new, less materialistic world both palatable and even enjoyable (Madge 1997).

The past 50 years, from the 1960s to the present, has seen a transition from “green design” through to “eco-design”, and culminating in “sustainable design.” The investigation of the history and theoretical work of both designers and artists working in the field of sustainability is relevant to my research as it allows me a better

4The O2 Group was founded by the Danish designer Niels Peter Flint as an international organization of environmentally aware industrial designers.

understanding of the principals and processes behind sustainable methodology and practice and provides a framework and guide, as to how best this can be applied to my own work.

2.4 THE ROLE OF THE DESIGNER

Having examined the meaning of sustainable design and then placed it into a historical framework, I will now discuss the role and methodology of the designer as a practitioner and educator in this context.

Designers, as creators and specifiers, are in a position to determine through their selection of materials, where they will be sourced, how the product will be manufactured and ultimately disposed, and therefore what effects their actions will have on the environment.

In the past, designers, as creators of trends and fashions have encouraged rampant consumerism by frequently creating new styles, building in obsolescence, and supporting a culture of elitism around the newest and latest products.

As early as the 1920s, engineer R. Buckminster Fuller realising the limitations of industrial design, began to propose new products and systems which challenged the traditional practices of the time. In the 1960s, Fuller participated in the launching of the World Design Science Decade; a program intended to demonstrate how design could play a role in addressing major world problems. Many of the goals outlined in the documentation parallel those espoused today by leading advocates of sustainable development (Margolin 1998).

The primary question for the design professions was not what new products they could make, but rather how to reinvent a design culture so that worthwhile projects could more clearly be identified and realized. “The power of design is in conception and planning, first generating an idea and then embodying that idea in a product, whether an object, system, or environment” (Margolin 1998, p.87).

In the 1990s, designers schooled in the art of a ‘throw-away’ culture, started re-thinking their methodology to include design that would last, yet come apart easily so it could be recycled and re-used.

Design educators, Emma Dewberry and Phillip Goggin believe eco-design can be applied to all products and used as a suitable guide for designing at product level. Sustainable design they believe, is much more complex and covers broader issues of development and ethics within a societal context. Their argument suggests fundamental changes in design and the role of design; moving away from a products based system and embracing a systems based approach (Goggin & Dewberry 1994).

Authors William McDonough and Michael Braungart, encourage us to develop a new paradigm about nature and commerce. In their book “Cradle to Cradle,” they allege that the modern industrial infrastructure we have today is still a linear one, developed when people had a very different sense of the world. They had neither an awareness of the health of natural systems, nor their delicacy, complexity or interconnectedness. Even though today our understanding of nature has dramatically changed, these industrial systems are still focused on making a product and getting it to a customer quickly and cheaply, with little consideration given to the consequences of its production and afterlife (McDonough & Braungart 2002).

As a consequence the design profession, driven by new laws and attitudes, responded to the challenge. New complex materials (especially plastics), which are biodegradable, have been, and are continuing to be developed. There are growing social and political demands to recycle materials, design products which have multi-purpose capabilities, and that don’t deplete the earth of its natural resources. These issues demand a new approach from designers and are sure to eventually have definitive structural and aesthetic influences changing the way things are conceived, built, used and look.

Crowe, in his book “Nature and The Idea of a Man-Made World,” suggests a gentle shift in focus from the exploitation of nature to one of stewardship over the natural world. He emphasizes the importance of looking at “the idea of a man-made world,” and to see its impact on places we build and objects we make, and thereby gaining a better understanding of our place in the world of nature (Crowe 1995, p.24).

Writing at the same time, Fry contends, in his book, “Remakings: Ecology Design Philosophy,” that the power of design, its past, present and future, is largely under- recognised by the design professionals themselves, as well as by society as a whole. He believes that design has an enormous impact on thought and economic practice – all of

which converges and has an accumulated and profound impact on human life and the life of everything on the planet. Therefore, in order for things to change, with regard to the environmental crisis, human beings need to change their value systems (Fry 1994).

“Eco-design, as a design practice, travels in two directions that converge: it moves towards the creation of an economy that can produce, while reducing ecological damage; while at the same time, it seeks to produce wealth while diminishing the volume of resources used” (Fry 1994, p.12).

In his article, “Design For a Sustainable World,” design theorist Victor Margolin supports Fry’s belief of a need to change our value systems. He writes that designers need to rethink their identity as professionals. He states that there is clear evidence that older models of design practice are not working and as a result new ones must be developed. Design for disassembly, life cycle design, and design using recycled materials are all responses to this situation. However most of the concepts are aimed at reforming consumer culture rather than contributing to a new vision of professional practice. He believes that design needs to disengage itself from consumer culture as the primary shaper of its identity, and find a place where it can begin to rethink its role in the world (Margolin 1998).

Papanek believes the solution begins with the designer’s awareness of the choices they make with regard to their work, which can have far-reaching and long-term ecological consequences. Designers and manufacturers need to question the ultimate impact of a new product being introduced (Papanek 1995).

He claims this awareness begins with an understanding that the design and manufacture of a product, both while it is in use and when obsolete, through its various stages of creation, can be potentially ecologically harmful. And conversely, it can also include taking a different stance and creating innovative solutions to the design process. Choice of materials, manufacturing processes, packaging, the product itself, transport and waste, are all stages in the life of a design, which need to be questioned: the entire cradle-to-cradle scenario.

The materials chosen by the designer, where and how they are sourced and the process by which they are manufactured need to be very carefully examined. Mining, for example can create atmospheric pollution and uses natural resources, which cannot be replaced (Papanek 1995).

Some of the questions facing designers are: is the manufacturing process harmful to the workers or to the environment? Are there any toxic bi-products, such as fumes, gases and liquid run-off, produced as a result? Are the materials chosen irreplaceable and if so are there alternatives? Can they be sourced locally to avoid long haul transportation?

Fry believes that if eco-design is to have any clout, we must move from the concept of quantity to a quality based economy. While Fry applauds the development of less harmful modes of industrial production, this positive advancement is often negated by the sheer increase in consumption and production, rapidly depleting the earth’s natural resources (Fry 1994).

Papanek also supports this view in his writings. The profusion of too many different versions of the same product, where, in many cases there is little or no difference and is often only reflected in the style of packaging, can have the effect of depleting the natural environment of sometimes irreplaceable raw materials (Papanek 1995).

He claims the choice of packaging alone can have a profound impact on our environment. Choosing foam plastics, which are not biodegradable and lacquer sprays and other products that require propellants (CFCs) can damage the ozone layer. Consideration of materials and methods are therefore crucial in the packaging phase of the design.

Papanek also believes that the transport of products and materials, which involves the use of fuels, and a complex system of roads, rail, airports and depots, further contributes to pollution and the draining of natural resources (Papanek 1995).

And finally designers need to consider the after-life of the products that they design and produce. How will they be disposed of? Are they biodegradable? Can any of the components be recycled, re-used or return biological nutrients to the soil?

William McDonough and Michael Braungart allege that the environmentalist catch-cry ‘reduce, reuse, recycle’ perpetuates a linear ‘cradle-to-grave’ (McDonough & Braungart, p.27) manufacturing model, dating back to the Industrial Revolution. They believe this concept dominates modern manufacturing, creating a huge amount of waste and pollution. Many products are designed with ‘built-in obsolescence,’ (McDonough & Braungart, p.28) only lasting a short period of time, to encourage the customer to replace it with a new model. They argue, why not design products, which when they decompose, provide

nourishment for the soil? “ If humans are truly going to prosper, we will have to learn to imitate nature’s highly effective cradle-to-cradle system of nutrient flow and metabolism, in which the very concept of waste does not exist” (McDonough & Braungart 2002, p.103).

On a positive note, designers are exploring, trialing and implementing Design for Disassembly (DFD) and take-apart technology, which facilitates recycling. Papanek gives, by means of an example, a brilliant initiative developed by BMW. Their limited-production sports car, the Z-1, has an all-plastic skin that can be taken from the metal chassis, and has doors, bumpers and front, rear and side panels made of recyclable thermoplastic. Reinforcing this important development, the German government has also introduced new laws that require its car manufacturers to re-purchase or take back, disassemble and recycle all German cars (Papanek 1995).

There is also the development of Design Diversification (Papanek 1995), a culture around the imaginative new applications for parts and products where excess has been manufactured.

Another strategy is the innovative design and exploitation of waste off-cuts. A designer friend (Bev MacInnes) is currently setting up a business: a shopfront selling fabric off-cuts and samples, which would normally end up in landfill. Depending on the size of the off-cut (which she collects at little or no cost from large fabric wholesalers), she will either organise one-off upholstery projects or manufacture and sell wallets, glasses cases and other small fabric items.

‘Re-use, recycle and dispose responsibly’ is a familiar slogan. However the concept of ‘use less’ should also be our over-riding maxim. Unfortunately the implication of this for designers and manufacturers is that less will be bought and therefore profits will shrink. Perhaps it will require adopting a totally different type of logic.

We could disengage from the concept of ‘more is better’ and adopt a philosophy which embraces products which are designed to last longer, are more carefully crafted and assembled, but come at a greater cost.

“Recycle” is a concept which McDonough and Braungart encourage us to question. In some cases products and materials are transformed (or recycled) from one form to another with little consideration of how much energy is expended or waste created, in doing so.

Moreover, the recycling process may have introduced even more harmful additives than the conventional product contains (McDonough & Braungart 2002).

Papanek acknowledges that the relationship between design and ecology is a very close and complex one. As such the designer needs to evaluate all aspects of the life cycle of their product and assess its potential harmful impact on the environment from the original acquisition of raw materials, through the manufacturing process and assembly, and including packaging, transport, advertising, printing, its use, and finally the re-use, recycling and final disposal.

In the past, to some degree, the appearance of a designed product has always reflected the personal gesture or whim of the designer, as well as the stylistic trends of the time. With growing concern for the environment and ecological issues, a new aesthetic in design will rise; a whole new, more spiritual approach will replace an indulgent past (Papanek 1995).

Designers and manufacturers need to question the ultimate consequences of a new product being introduced. Greater emphasis should be on quality, performance and craftsmanship, as the public and designers come to understand that obsolescence and bad workmanship can waste natural resources and contribute to shortages on a global scale.

Perhaps there needs to be a shift in our thinking whereby future, products that age gracefully and are more timeless in their design will be more valued than those quickly changing fads and trends of the past. And finally it will be understood that no design stands on its own: that all design has social, ecological and environmental consequences that need to be evaluated.

2.5 CONCLUSION

A study of the history of sustainable design in all its incarnations, from “eco-design” through to “environmental design” and “green design,” together with an examination of the role that the designer has had in this history, has highlighted a number of points. The faint whisperings of concern expressed in the early 1960s following the publishing of Rachel Carson’s book, “Silent Spring” were later reinforced by the theories of James Lovelock’s Gaia. The notion of sustainable design and all it stands for has not only broadened in its scope, both in theory and practise, it has become a household word, a topic of much

discussion and community concern. Sustainable design as it has developed over the years has rediscovered some old ideas and produced some new ones. It has gone through a process of maturity, moving towards a deeper understanding of environmental issues.

In this chapter I have explored both past and present theories of a number of writers, practitioners and educators, on how we can best employ sustainable practise in design. Their opinions vary only in as much as the focus of their attention. Fry believes the power of design is underrated and a need for a dramatic change in our value systems imperative. Papanek supports this, but strongly believes that we are entirely responsible for changes to our planet’s environment and sets out to formulate a step-by-step guide to safer design practice.

This chapter identifies how in many ways the environmental crisis is also a design crisis and necessitates forms of knowledge and economics that will favour sensible reform to design practice. It also articulates how the role and responsibilities of the designer can influence and impact the environment.

In reviewing the perspectives of a number of theorists, I am able to better understand and identify the steps that need to be taken to incorporate those ideas into the development and practical application of my own work as an artist and designer. As my work involves both these elements, the following chapter will take a look at how the art world deals with the question of sustainable practise: its similarities and differences to the field of design.

CHAPTER 3

SUSTAINABLE ART

“The more clearly we can focus our attention on the wonders and realities of the universe about us, the less taste we shall have for destruction.” (Carson 1954)

3.1 PRELUDE

The last chapter focused on what is meant by sustainability and more specifically what is involved in the creation and production of sustainable design while looking closely at the history, theories, guidelines and systems that have evolved over the 22

past 50 years and how they have impacted on both the field of design and design practitioners.

It is clear from this study that there has been a growing awareness of the problems and implications of global warming since the 1970s, and it is interesting to note how the principles of sustainable living have been adapted and adopted by different disciplines from both the arts and sciences and how innovative crossovers have occurred as a consequence.

Papanek observes in his book, “The Green Imperative: Ecology and Ethics in Design and Architecture”, that the changing of the earth’s environment is a result of the things that we do and the tools we use. Now that this change is having a profound effect on our planet, designers need to contribute to help find solutions (Papanek 1995).

As with designers, there needs to be a shift in current work methodology, attitude and value systems by both artists and the art world as to what constitutes art and with it a reassessment and questioning of creation, function and display.

This next chapter will investigate what effect the global environmental crisis has had on the art world: how they have reacted to it, what principles of sustainable production they have adopted and what similarities and differences there are between the two disciplines. It will also discuss how the boundaries between art and design are becoming increasingly blurred and describe the emergence of an exciting and innovative new culture of cross-disciplinary creation.

3.2 THE MEANING OF SUSTAINABLE ART

In this section I would like to discuss what is meant by sustainable art, how art contributes to the question of sustainable practice and what are the guidelines and boundaries it employs. This study raises a number of relevant questions, such as how does the creation of art relate to other practices concerned with sustainability? How do we distinguish its particular characteristics from those of architecture, industrial design, graphic design and a host of other design disciplines?

Sustainable art refers to an art that engages with issues of sustainability; a culture that is developed around sustainable thought and practice. It entails an understanding 23

of ecological equality, a shift from an anthropocentric model to include whole eco systems, and a renewed sense of social responsibility (Fowkes & Fowkes 2006).

If we see art as a cognitive medium that integrates aesthetic creative knowledge into a language of sustainability, then this shift in focus would indeed affect the way art is produced. “Art as a mode means that sustainability is seen, felt, thought and conceived differently – and communicated differently” (Magolin 2005, p.24).

Environmental Art, Earth Art and Land Art of the 1960s and 70s, sometimes considered the predecessors of the sustainable art movement, was associated with art as a vehicle to raise consciousness through a direct ecological message. Land artists famously left the white cube-like spaces of the gallery to make dramatic statements directly into the landscape. These artists engaged with the land in different ways, not all of which can be seen as environmentally sustainable as they were preoccupied with marking, moving and rearranging natural materials on a grand scale; treating nature as a giant canvas (Fowkes & Fowkes 2006).

Robert Smithson’s “Spiral Jetty” (1970) is an example of how these artists focused on moulding and changing the landscape, forming new shapes from large masses of earth, stone and other materials (Magolin 2005).

According to contemporary art historians and curators, Maja and Reuben Fowkes, the origins of sustainable art owes more to the legacy of 1970s conceptual art, than to the Land Art movement. The proponents of the Conceptual Art movement believed that it was the concept or idea that should take precedence over traditional aesthetic and material concerns. Many of the works of the artist Sol LeWitt, may be constructed by anyone simply by following a set of written instructions (Fowkes & Fowkes 2006).

“In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art” (LeWitt 1967, p.1).

Contemporary artists have adopted many of the concerns of the conceptual art movement. While they may not refer to themselves as “conceptual artists”(LeWitt 1967, p.3), they embrace the concept of ideas, information, social and political review,

as an important part of their medium, in particular artists working with installation art, performance art and electronic art.

The previous chapter discussed what is meant by sustainable design and reading the work of art historians, theorists and curators, it seems for the most part, the same principles apply to artists adopting sustainable practice. Many of these artists are consciously using non-toxic, non-polluting materials and manufacturing processes that have minimal harmful effects on the environment; materials that don’t deplete the planet of natural resources and that can be sourced locally. In addition, artists are also incorporating low energy and power producing technologies into their work.

The difference between the two creative disciplines seems to lie mostly with the object itself or in many cases, the lack of an object. The discipline of design aims to create products that are useful, whereas the artist is more engaged in the conceptual aspects of creation. The designer using sustainable practice considers the after-life of the products that they design. How will they be disposed of? Are the materials biodegradable? Can any of the components be recycled or re-used? Can the object be designed for disassembly to facilitate recycling?

In the previous chapter of this thesis, Papanek acknowledges that the relationship between design and ecology is a very close and complex one; that the designer needs to evaluate all aspects of the life cycle of their product and assess its potential harmful impact on the environment (Papanek 1995). The artist, on the other hand, rarely has to consider the consequences of mass production on the environment, as they are producing, in most cases, one-off, or limited editions of their work. For many artists, where their work is to be housed in a museum, consideration of its afterlife is not given. They regard their artwork as permanent and conceptual, without a practical use, in other words, “art for art’s sake.”

As for recycling, designers employing sustainable processes will consciously use products and components that can be recycled, whereas the artist working in this field, will use, recycled materials as a medium for their work.

There are of course areas of sustainable art that defy traditional interpretation, where the boundaries between science and art, or landscape design and art are blurred.5 For these artists working outside the traditional framework of a museum, their projects fall into several categories: art that engages with the land or landscape; art that incorporates sustainable practices such as recycling; and art that responds to social issues through the production of objects or ideas (Magolin 2005).

Sustainability for the environmental or land artists for example, takes on a different form and meaning. Their work, which can involve action and audience participation, is more immediate and visceral than viewing an artwork in a gallery. In Joseph Beuys’ 1982 work, “7000 Oaks,” people were invited to participate in the planting of the trees. Reforesting the German town of Kassel was an ecological gesture to redress the balance of nature in the urban landscape. And although initiated by an artist, it transcended artistic debate and became social action (Magolin 2005).

More recently artist, Warren Langley designed a glowing urban forest to be installed under the arching bulk of Sydney’s Western Distributor6: transforming it from a cement eyesore into a vibrant community artwork.7 “Aspire” (Fig 5.2) was designed to enliven the unattractive area below the freeway into a luminous outdoor gallery. It was a collaborative community art project working with the artist to produce an installation using economic and ecological sustainability in the selection of materials and light sources (Langley 2010a).

Falling into the third category of artists responding to social issues is Free Soil, formed in 2004, a collaborative group of artists, activists, researchers and gardeners who have a shared interest in social, political, cultural and environmental projects. Their main area of interest is the interrelationships among cities and other ecologies,

5 Earth art, land art, eco art, environmental art. See the work of Joseph Beuys, Robert Smithson, and Mel Chin.

6 The Western Distributor is a primarily elevated small freeway in Sydney, New South Wales, Australia

7 Part of the City of Sydney’s Sustainable Sydney 2030 initiative.

the environmental impact of urban development, and progressive uses of urban space. The group combines their multi-disciplinary skills to produce multimedia projects which include sculpture, gallery installations, gardens, workshops, and web- based new media technologies. Their work is playful with a strong social message; they believe “art can be a catalyst for social awareness and change” (Smith 2005, p.40).

According to art historian and theorist, Victor Margolin, part of the problem is that many artists want to participate in social processes or make statements about social situations in ways that transcend the conventional forms of representation that museums and galleries offer.

He believes that what is needed is an open mind and a willingness to collaborate for those who seek involvement in the culture of sustainability. “Imagination is an artist’s greatest asset. It can produce bold visions of what a sustainable future might be like. People can be moved and aroused by powerful environments, innovative designs and practical demonstrations of active engagement”(Magolin 2005. p.28).

The desire to address the issues of the times, and to use creative endeavours as a means to question and illustrate social change is not new to artists (Smith 2005). The fertile crossover between art and design, which we see developing as a response to the question of creating for a sustainable future, is breaking down barriers and established attitudes. A vital part of my study understands this confluence of art and design with regard to sustainability and at the same time appreciating the differences that both disciplines bring to the field.

3.3 HISTORY OF SUSTAINABLE ART

The idea of using recycled materials to create art is not new. At the turn of the twentieth century, paint, clay, bronze and marble were accepted artistic mediums. The idea of using actual objects in painting or sculpture was considered radical for established artists. But in the first decade of the twentieth century, a new art form called Cubism broke down many conceptual barriers. Pioneered by Pablo Picasso from Spain and Georges Braque from France, Cubism attempted to overturn the prevailing artistic prejudices by projecting a faceted, fragmented, and relativistic view of the modern world (Spencer 2002). 27

Picasso and Braque experimented with trompe l’oeil effects in their paintings of the early 1900s. The next step was to incorporate actual objects – mirrors, newspapers, cigarette packs, and playing cards all found their way into these works of art, blurring the distinction between the formalised world of painting and the ever changing modern world. Despite the ramifications of this new style of art, it also had its playful side. For example, Picasso’s sculpture “Bull’s Head” is made from a bicycle seat and a pair of handlebars. Picasso wrote of the piece: “One day, in a rubbish heap, I found an old bicycle seat, lying beside a rusted handlebar….and my mind instantly linked them together. I assembled these two objects….that everyone recognised as a bull’s head. The metamorphosis was accomplished, and I wish another metamorphosis would occur in the reverse sense. If my bull’s head were thrown in a junk heap, perhaps one day some boy would say, ‘Here’s something that would make a good handlebar for my bicycle” (Spencer 2002, p.8).

On the eve of the First World War, an artistic movement was born which attempted to demonstrate that all human values, aesthetic, moral and social, were deemed inconsequential when compared to the horror of war. This nihilistic manifesto was dubbed “Dada” after the French word for hobbyhorse (Spencer 2002).

The most innovative exponent of the Dada iconoclasts was Marcel Duchamp, a man for whom “junk” took on an almost spiritual significance. Duchamp delighted in rescuing objects from their normal and nearly invisible everyday roles, and combining or highlighting them to reveal a second and more provocative life. For Duchamp, common objects placed together in uncommon pairings could suggest new meanings, or better yet, baffle and hopefully outrage the public. “Bicycle Wheel” (1913) was a bicycle wheel mounted upside down on a simple white kitchen stool. The separate objects lost whatever functional value they might have possessed, but they gained a new aesthetic purpose. By the end of Duchamp’s lifetime, junk; had become a respectable artistic medium: the only question was how to employ it in new and unusual ways (Spencer 2002).

Artists like Alexander Calder fashioned the fantastical out of the ordinary: a candelabra assembled from an olive oil can; a table bell made out of wire and broken glass; a lamp devised from cake moulds. By the middle of the century, artist Robert Rauschenberg had become interested in the expressive possibilities of junk as an artistic medium. Ladders, clocks ventilation ducts, pillows, beds in their entirety – all turned up in Rauschenberg’s attempts to bring artwork and the real world a little closer. 28

In the early 1960s, John Chamberlain attempted to duplicate the results being achieved by the abstract expressionist painters of his time, but his palette was the auto junkyard, his paint predominantly auto body parts. He rearranged squashed fenders, broken doors, twisted bumper and dented hoods (Spencer 2002).

Joseph Beuys, one of the instigators of the German “Fluxus” movement, utilized all manner of discarded electrical equipment, hunks of felt, old ship generators, wire, beat-up Volkswagen vans, autopsy tables, giant batteries, and so forth to promote the idea that the scientific and the mystical are not far removed.

Jean Tinguely, a member of the “Movement Movement” took seriously Pablo Picasso’s dictum that junk transformed into art should have the opportunity to return to junk once more. Tinguely’s masterpiece, “Homage to New York”, was a giant construction of junk; wheels, gears, motors, belts and chains, rigged up in the garden of New York’s Museum of Modern Art in 1960 (Spencer 2002).

During the 1960s and early 1970s many artists focused on ideas rather than objects and developed works for sites other than the traditional gallery and museum spaces. As a result of this shift in focus, together with a growing awareness of environmental issues, some of these artists began to create land art; environmentally based projects using conceptual and site specific models in their work. An example of this style of art is Earthworks, which uses the rural landscape to sculpt and form works of art.8 Other examples from this period focused on the impact of human development on particular ecosystems 9 (Smith 2005).

In the 1990s we see an emergence of art as a collaborative experience, with many successful artistic groups working with people outside their usual art communities. These groups not only gather and share information, they are able to pool resources and integrate a range of technologies and processes, not normally associated with a specific artistic pursuit. At the same time artists began to expand their practice and to include as part of their visual language, what was traditionally thought of as design. There began to

8 Suzaan Boetther "Earthworks: Art & the Landscape of the Sixties" (Berkeley: University of California Press, 2002)

9 Examples are seen in the work of Robert Smithson & Joseph Beuys

be a blurring of boundaries, whereby fashion, architecture, interior and product design became fertile areas of exploration. Some of these artists share the same concerns as designers and design theorists. They look at how past collaborations in art and design successfully came together to produce innovative movements such as the Bauhaus and the Constructivists and refer to more progressive theorists outside the world of art, such as Victor Papanek. “The convergence of these two strands of creative pursuit can provide rich opportunities for artists to create satisfying visual forms that provide new ways of embodying critical practices. And when this convergence occurs around environmental questions, it resonates strongly with sustainable design’s goal of bringing social and aesthetic concerns together with environmental and economic ones” (Smith 2005, p.16).

3.4 A SYNTHESIS OF SUSTAINABLE ART & DESIGN

In this section I will address the debate on the differences between art and design, how the distinction between the two practices has become progressively more blurred, and how these creative models relate to the question of sustainability.

According to art historian and theorist Margolin, the distinction between art and design usually comes down to the premise that artists can create for creation’s sake, whereas designers are bound to produce something useful.

Margolin believes that the current division between art and design practice is one of the biggest obstacles to holistically envisioning a new sustainable culture and remains a challenge not only for museums, but also for artists and practitioners. He goes on to explain, that culture consists of a range of creative modalities that can complement and enhance each other’s ability to describe, express and represent an experience. But attempting to define their boundaries has become increasingly difficult and blurred (Magolin 2005).

“To deal with new forms of human expression and action, critics and curators are continually trying to stuff them into institutional boxes where they don’t fit. Old categories need to collapse before we can begin to create a different dialogue on aesthetics in a sustainable culture.” In this new aesthetic the distinction between art, design and architecture will blur (Magolin 2005, p.28).

According to cultural researcher and author, Hildegard Kurt, art and sustainability is a subject surrounded by ambiguity, with questions about the cultural and aesthetic dimensions of sustainability being particularly vague. “In the art world,” she writes, “lively dialogue is often hindered by the error of seeing sustainability only as an ‘environmental subject’ and not as a genuinely cultural challenge” (Kurt 2004, p.239).

This brings into focus a number of questions, which arise when discussing art and sustainability. What forms does art take in a culture of sustainability? Are they vastly different from the forms of art in mainstream visual culture? Is this new art best represented as a physical object, a gesture, social action or community projects? Kurt believes that art is a cognitive medium, so therefore the ‘aesthetics of sustainability’ (Kurt 2004, p.240) should be seen, felt, thought, conceived and communicated differently (Magolin 2005).

What is art’s relation to other practices that are concerned with sustainability? How do we distinguish its particular characteristics from those of architecture, landscape design, graphic design, or community action, especially when the projects appear to be similar? How do we feel about art that moves away from ideas and whose intent is to produce a useful result? What about artists who generate ideas and plans rather than objects or actions? Do we classify them as artists or planners? So by what criteria do we evaluate their work?

The hierarchy between art, architecture and design, according to Margolin, remains a paradox within the culture of sustainability, where the principal criterion surely is to develop and produce sustainable projects. What gets lost when a situation such as this prevails, is the acceptance of projects that do not fit easily into the realm of the art-world or museum framework, and the overarching issue, is compromised (Magolin 2005).

Many curators and theorists are just beginning to explore the question of how sustainable design of the 21st century merges art, technology, and environmental stewardship into forms that have the potential to reach wider audiences. Stephanie Smith, curator of Beyond Green, an exhibition on sustainable art, which toured the United States in 2005, distinguishes the hybrid practice of sustainable art and design as one that is eminently portable.

The Beyond Green exhibition explores some of the ways that contemporary artists, like designers, can express their concerns for the environment, through their work. These artists blend art, activism and design to varying degrees and often work collaboratively across a number of disciplines. The exhibition focuses on only one strand of this art by presenting objects, structures and processes that use aspects of sustainable design to metaphoric, practical, speculative, ironic and playful ends.

Sustainable design puts these theories into practice by re-thinking and re-inventing the way we live, our homes, our offices, the tools we use, books, clothes and cars; and processes we employ such as transportation, packaging and production. But sustainable design that espouses a purely green approach, which considers environmental questions in isolation from other factors, is incomplete and ineffective. Consideration needs to be given to the entire life cycle of any designed object from its production, though its lifespan, to its disassembly and whole or partial reuse (Smith 2005).

Stephanie Smith sets out to address the intersection between sustainable design and contemporary art in her travelling exhibition, Beyond Green: Toward a Sustainable Art. As curator, she was faced with a number of challenges, which involved how to be environmentally conscious in the interpretation, presentation, packing, and shipping of the works of art.

A group of artists were chosen to interpret their understanding of ‘green living’ and to articulate this in their work. These artists presented counterpoints to established forms of environmentally conscious art. Rather than large scale works, they explored sustainability at a more modest, portable level. The works presented in the Beyond Green exhibition featured structures, objects and processes that can be used and reused in a range of contexts and can be experienced directly by visitors at each venue. The curatorial approach to Beyond Green brings one strategy of sustainability, recycling, into focus.

An example of the confluence of art and design is seen in the work of Jane Palmer and Marianne Fairbanks. Their work for the Beyond Green exhibition combines art, design and technology in a portable format. They created a series of prototypes; shoulder bags equipped with lightweight, flexible solar panels that power small-scale

electric devices like mobile phones, iPods and DVD players (Fig 3.1). They see their work as social sculpture; creating projects which incorporate practical ways of embedding sustainable practice within the context of daily life (Smith 2005).

Brett Bloom, Julio Castro, Rikke Luther and Cecilia Wendt have been working together since 2004. Through their collaborative art projects, they develop strategies for putting common materials to creative new uses while addressing problems within the built environment. These projects illustrate inexpensive and often playful ways people can employ renewable or waste materials to improve the quality of their lives. Theirs is a philosophy of self-sufficiency and a belief in the need to make creative, productive use of overlooked spaces and resources. They devise methods to gather and use these materials, making drawings, models, posters and sculptural structures to test their ideas and share their processes and designs with others. After their work has been exhibited, the group will often recycle and re-use the materials to be incorporated into another project (Smith 2005).

This section addresses the differences between art and design, how with the emergence of new hybrid pedagogy, the boundaries have become increasingly blurred. Margolin spoke of the importance of working holistically, when visualizing a new sustainable culture (Magolin 2005). And out of this has emerged an entirely new culture, of artists working collaboratively, mingling interdisciplinary skills and shucking off the boundaries of studio, exhibition and display. As a result, these groups of artists defy traditional labels; their works have moved away from our established notion of art practice into the realms of design, science, technology, education, social action and experience.

3.5 REDUCE, REUSE, RECYCLE & RECREATE

“Reduce, Reuse, Recycle & Recreate,” what is meant by these terms and how do they relate to current art practice? This section explores the work of artists who use recycled materials as the raw ingredients to create idiosyncratic artworks, while addressing the question of sustainability. Examples of artworks and artists working in this discipline will be reviewed.

I first became aware of recycling through my mother, a casualty of the Great Depression. She had learned as a child to be resourceful, frugal and never wasteful. Those lessons born of hardship and deprivation, stayed with her forever. My mother recycled everything from food scraps to plastic bags.

The idea of recycling as a politically correct action is a fairly recent phenomenon; it has made the public more aware of the problems that accompany the amount of trash discarded on a daily basis and its need for proper disposal.

Dorothy Spencer, in her book Found Object Art, examines how artists have incorporated the practice of reuse and recycling into their own work. These artists vary in their approach; those from generations raised during the Great Depression who have followed their parents example of reuse, have a strong commitment to saving the environment, while others are simply fascinated by the look of a piece of weathered metal or timber.

These artists speak of finding discarded objects that have “an energy”, a life, and a potential to become something new. Many of them are creating new interpretations of ancient techniques and styles, giving fresh expression to longstanding traditions of fine art, craft and design (Spencer 2002, p.6).

The work of these artists and designers, although highly idiosyncratic, are united by their fascination with recycled materials as an artistic resource. It’s cheap, often plentiful and can be rich with associations. These people are often natural collectors hunting for inspiration in junk stores, waste disposal facilities, scrap metal yards: looking for objects that suggest possibilities through form or meaning. Objects that they can transform from the mundane to the sublime (Spencer 2002).

An example of this can be seen in the work of artist Dan Peterman, who, since the late 1980s has not only sourced recycled materials for his sculptures and installations, but also reconfigured them into new projects for other exhibitions. “Universal Lab” a mixed media installation commissioned by the Smart Museum of Art for their 2000 exhibition Ecologies: Mark Dion, Peter Fend, Dan Peterman, is an example of this practice. All of the versions of the artwork produced for the project; use objects from a now defunct scientific laboratory. The installation draws it name, “Universal Lab” from a group of amateur scientific researchers who gathered 34

discarded items scavenged from the University of Chicago’s laboratories; using these materials for their own research. When the warehouse that housed these items became overcrowded, Peterman helped save and reuse many of the materials, incorporating them into his installations, thus returning them to the University from whence they came, in another form.

His piece “Excerpts From the Universal Lab” (Fig 3.2) perfectly illustrates the principle of reuse and recycle, where the raw materials of his installation have been transformed from their initial functional life through several cycles of use and reuse. In addition to reusing materials, this project calls into question the art world’s constant demand for new work and the consumption of resources that this process requires (Smith 2005).

Artist Steven Siegel uses recycled materials to create public art and site-specific installations in natural and urban spaces. His work is quintessentially sculptural, with a profound understanding of the specific environmental sites in which he works. His raw materials are discarded newspapers; crushed drink cans, empty milk containers and shredded rubber. Connecting art-making and environmental processes, he builds “trash sculptures” that reflect the deposit-and-decay cycle. His large boulders made of compressed cans and plastic bottles bring awareness of the scale of consumer waste in a beautiful, integrative way (Grande 2010).

The first thing he does when working at a new site is to find what kind of free materials might be available in large quantities. In “Grass Paper Glass” (Grounds For Sculpture, Hamilton, NJ), his staff found a huge quantity of glass from a nearby factory that was going out of business. The glass was material that a manufacturer had overproduced and was going to throw away. That became the starting point for the work. “The entire project was predicated on what I had to start with – the glass” (Grande 2010, p.42).

Installation artist, Peterman questions the premise of constantly sourcing materials to create new work. He prefers to reconfigure and re-invent, using the same resources to create something new. Taking a slightly different approach is Siegel, a site-specific installation artist, who is conscious of using materials that have been over-produced re-using them in a different context.

It is not only artists that support the ethos of reduce, reuse, recycle & recreate. Reverse Garbage is a recycling resource which houses and re-sells industrial and commercial refuse for reuse. It is very supportive of the artistic community, often initiating workshops in the hopes of inspiring them to recreate from their recycled goods. “Through art we hope to raise awareness about the problems of over- consumption of resources in the community and show really viable ways to reduce our impact” (Reverse Garbage, Brisbane).

3.6 THE IMPLICATIONS OF SUSTAINABILITY FOR CONTEMPORARY ART

Writing this chapter it has become apparent that with the growth of interest in sustainable practice, the distinction between art and design has become increasingly blurred. And with it the whole culture of art, design, studio practice and exhibiting has changed radically. Artists and designers concerned with creating and producing sustainably have moved toward new and innovative ways of working. Many have moved away from the boundaries of the studio, have broken away from the notion of sole authorship and are cultivating interactive and participatory collaborations outside the workshop.

Artists and designers Palmer and Fairbanks say they have become more interested in cultivating interactive, participatory and educational experiences. They are exploring ways to initiate and show their work in new contexts and environments; places where the work might not necessarily be seen as art, but where it is more accessible to a broader demographic. Although they see themselves as artists, their work has moved into the field of design and technology. Through collaborating with a solar expert, they were able to integrate lightweight solar panels into a handbag and thereby creating a mobile power unit (Fig 3.1). They hope by integrating solar power into these everyday items, like a handbag or a backpack, they might create greater public awareness and interest in using solar power on a larger scale.

The implications of this type of art/design are many. For example this combination of design and technology could have very useful applications in communities that don’t have access to electricity. Realising this, Palmer and Fairbanks have transformed their prototypes, which were displayed as part of the Beyond Green exhibition, from a conceptual idea into a product. Again breaking from the mould of traditional art practice, these artists chose an alternate route because they realised as a single piece of art, it would have little or no effect on changing the current dependency on foreign and non-renewable energy sources.

So again, they forged even broader collaborations with business students, engineers and pattern designers to develop a product based on their prototype. Their point of difference from normal business practice is that they are creating a product as an

alternate power source and not to make money; therefore committing their ethics and values of sustainable growth into their business (Smith 2005).

The collaborative group of artists, calling themselves Free Soil, who were mentioned earlier, combine their multi-disciplinary skills to produce multimedia projects. Unlike Palmer and Fairbanks, these artists see themselves as activists, whereby they create artworks, which convey a message, rather than having a useful application. They see their installations as conduits of learning, and through their work, hope to raise awareness about urban gardening and other alternative food movements as instruments for change.

Their project F.R.U.I.T. (Fruit Route User InTerface), created for the Beyond Green exhibition, explores the networks that link cities and agricultural areas and highlights the costs, social, economic and environmental of getting fruit from rural farms to urban centres (Smith 2005).

These and many other artists and designers working in public art, environmental art, community based art and activist art, are completely changing not only their work practices, but evolving a different way of thinking and approaching the concept of creating art, authorship and production. They are redefining the culture of art making and turning our current preconceptions of what this means, upside down. No longer “art for art’s sake”10, art works are becoming useful, demonstrative or delivering a message. Artists are creating partnerships and exploring venues outside the traditional art system.

10 English rendering of a French slogan, from the early 19th century, ''l'art pour l'art'', and expresses a philosophy that the intrinsic value of art, and the only "true" art, is divorced from any didactic, moral or utilitarian function.

3.7 CONCLUSION

“Every creature is involved in maintaining the entire system; all of them work in creative and ultimately effective ways for the success of the whole.” McDONOUGH & BRAUNGART 2002:122

This chapter examines the impact that the global environmental crisis has had on contemporary art. It reviews what is meant by the term sustainable art, and its implications on the art world, while recognising its historic roots. It outlines the principles of sustainable practice adopted by a number of artists, together with the emergence of an innovative new culture of cross-disciplinary creation. Through the musings of art historians, theorists and curators, the implications and effects this has had on shaping the art world and its value system is discussed.

The eternal question of what constitutes art is nowhere more prevalent than when discussing it in this context. In the past art has often taken the form of social or political commentary. Art was meant to be informative, illustrative and allegorical as a means to inform and educate the public. The slogan l’art pour l’art, which was coined in the early 19th century by the French philosopher Victor Cousin, expressed the belief held by many writers and artists, that art needs no justification, that it need serve no political or social concerns. Art for Art’s Sake was a rallying cry, a call for art’s freedom from the demands of the tyranny of meaning and purpose. It was claimed that art possessed its own intrinsic value and should not have to be made to satisfy any edifying, utilitarian, or moral function (Encyclopaedia Britannica 2010).

In light of the global environmental crisis, many of today’s artists are taking a fresh look at this question. Many are asking themselves what is their role in this new world thinking. In response they are questioning established attitudes of how art is conceived, created and displayed, while creating their own systems, and philosophies. Some address the question of sustainable art by creating new artworks using recycled materials and objects, others integrate low impact technologies into their work and there are those who see their work as a social statement; a vehicle for communication and education.

As noted in the last chapter, artists are becoming increasingly conscious of how their art practice can damage or affect the health of the planet. Like designers, they are

concerned with treading carefully and thoughtfully and as a result have developed their own unique strategies and integrating those adopted by other creative disciplines.

CHAPTER 4

THE IMPLICATIONS OF SUSTAINABILITY FOR EVENT DESIGN & PUBLIC ART

“The tipping point is that magic moment when an idea, trend, or social behavior crosses a threshold, tips, and spreads like wildfire.” (Gladwell 2000) DEDERRER 2001

4.1 PRELUDE

The last two chapters explored what is meant by sustainability and how it relates to the practice of art and design. Firstly this was framed in a historical context, so the reader could appreciate the origins of sustainable practice across the two disciplines. Secondly, the ideas of a number of theorists, educators, writers and curators working in the field were compared and discussed. This was followed by a review of the similarities and differences between the two disciplines with regard to the question of sustainable practice. And finally to illustrate this, the work of a number of practitioners was examined and described.

From this study it has become clear that many of the environmental concerns and issues facing designers and artists today are the same. They share similar philosophies, are adopting similar methodologies and both are aware of the social and cultural implications of their work. Where differences do occur, as outlined in the last chapter, these relate mainly to differences in the culture of the two practices.

Out of this has emerged an interesting blurring of boundaries between art and design, and with it a new paradigm: an innovative culture of cross-disciplinary11 collaboration.

Using the information gathered in the proceeding chapters, this next chapter will focus more specifically on the creation of art and design for events and public spaces. It will define what is meant by public art installations and event design and how its practitioners are addressing the question of sustainable practice.

4.2 PUBLIC ART & THE EVENTS INDUSTRY

Broadly speaking the term ‘public art’ is used to describe works commissioned for sites in urban public spaces that are accessible to the community. Public art encompasses a wide range of creative discipline and can include site-specific installations, sculpture, murals, graffiti, land art, street furniture and performance art. This form of art has grown outside the normal confines of conventional art spaces such as galleries and museums. Until recent times it seems to have bypassed inclusion in urban planning and been virtually ignored by the critical and theoretical writings common to conventional art and design practice (Miles 1997).

Since the late 1960s, works of contemporary art and design have increasingly been located in city squares, government buildings, parks, gardens, schools, railway stations, and a myriad of other community areas (Miles 1997). In the past, an artwork was generally positioned for public display with little or no regard to its suitability to the site. However, in more recent times these works have become more integrated with their environment as architects, landscape designers and artists work closely together to create new urban spaces.

The idea of creating or displaying public art often stems from the philosophy that art enriches the life and culture of a community and helps people to think critically about social issues. Rather than viewing art in an austere museum setting, where the viewer is distanced from the work, it becomes part of the community, interacting with it instead of just being passively observed.

11 Creative collaborations that cross disciplinary boundaries.

The term ‘event design’ or ‘design for special events,’ is a very broad description that can include a wide range of design and artistic practice. A special event can be described as a ritual, ceremony or celebration that encompasses a variety of gatherings. It can include meetings and conferences, expositions, fairs and trade shows, sporting events, festivals, award ceremonies and gala dinners. According to author Dr Joe Goldblatt, “A special event is a unique moment in time celebrated with ceremony and ritual to satisfy specific needs” (Goldblatt 2002, p.7).

The ‘event designer’ is an integral part of the ‘events industry’ and their role can be defined as developing and executing concepts for the overall look of the special event or a part thereof. Professionals working in this field are drawn from a variety of creative disciplines and can include set designers, architects, lighting designers and artists. As the boundaries between these disciplines, are considerably blurred, when described in the context of event design and public art, I have chosen to combine them as a creative art form in the final section of this chapter.

In the next two sections, installation artists and event designers whose work and creative practice is consciously mindful of its environmental impact will be analysed. The importance of their role as educators, using their creations to build awareness and promote change in community attitudes, will also be discussed.

4.3 PUBLIC ART & SUSTAINABLE PRACTICE

This chapter explores the work of a number of artists who are committed to employing sustainable practice in the creation of their artworks. In doing so, I would like to demonstrate to the reader, how artists, using their artwork as a conduit, are building greater public awareness around the smart use of sustainable technologies, materials and thinking. The focus of sustainable practice varies from artist to artist, and these differences will be examined and discussed in this section.

The philosophy behind the concept of sustainability is both culturally creative and ambiguous. The relationship of sustainability with public art stimulates sometimes different, but often similar inquiry. Art critic, curator and editor, Patricia Phillips defines “a public art of sustainability” as one which represents artists’ practice and projects that actively engage discursive concepts of sustainability and through their

work initiate dialogues about art and the environment. In her article, “Here to stay: sustaining public art,” she suggests the use of materials, conservation methods and a sympathetic connection of art to the character of the site, as valuable contributions. While insisting “sustainability of public art proposes a dynamic and dialectical, critical and theoretical environment for the field to develop, deepen and connect in significant, culturally creative ways in the future” (Phillips 2009, p.22).

Phillips sites Mierle Ukeles as an example of an artist, working in the field of ‘public art and sustainability’. As early as 1969, Ukeles began theorizing and creating a discursive practice around her ideas about culture, feminism and the public realm. Her prodigious work, over 40 years, analyses the question of culture, ecology, sociology, sanitation, maintenance and its impact on public life. The Staten Island’s Fresh Kills Landfill12, the largest landfill in the world, is one of her current projects. Over the next 10 years, Ukeles will work with New York City ‘percent-for-art’ funds13 to create a new entity from this 2,200 acre dump (Phillips 2009).

If sustainability implies a commitment to make responsive and responsible connections between environments and communities, then Ukele’s work is a perfect example of the public art of sustainability. Her work seeks to prompt and focus public attention and response to environmental issues, with tactics that radically expand to involve people and communities. Her connective process of intricately layered ideas and methodologies, that negotiate theory with practice, stimulate, contribute and inspire vigorous critical dialogue on sustainability and public art (Phillips 2009).

On the other hand, New York artist, Tara Donovan’s fascination is with the re- purposing of large quantities of consumer waste, destined for landfill, into her art installations. “Cloud Gazing” is made up of thousands of Styrofoam cups forming eerie, organic sculptural forms suspended from the ceiling. Donovan has skilfully constructed her artwork using materials, which if not re-used, would be detrimental to

12 Fresh Kills Landfill is an inactive 2,200 acre (890 hectare) landfill in the New York City borough of Staten Island in the United States. The name comes from the landfill’s location along the banks of the Fresh Kill estuary.

13 New York City has a law that requires that no less than 1% of the first twenty million dollars, plus no less than one half of 1% of the amount exceeding twenty million dollars be allocated for art work in any public building that is owned by the city.

the environment. In doing so, she has produced not only a beautiful installation for many to admire; she cleverly demonstrates the ‘cradle-to-cradle’ philosophy (Dick 2009).

Taking this idea even a step further, in 2000, Martin Goodrich director of the London- based Green Bottle Unit (GBU), and a team of artists working for the Free Form Arts Trust, decided to find ways to use recycled materials in public arts projects as a contribution to sustainability in the built environment. After much consideration, glass was chosen because of the vast quantities that need to be recycled, its ubiquity, its intrinsic qualities, physical properties and aesthetic appeal. Their challenge was to make a beautiful product from waste. Several years of ‘trial and error’ resulted in the development of Eluna14, a beautiful opaque and semi translucent glass tile with properties akin to ceramic or stone. Eluna is also manufactured through a process based on sustainability with minimal production waste. The tiles have not only caught the attention of architects and designers, but have been utilised in several public art projects, such as an installation in Reading and an ‘Arts Trail’ in Hackney (Cummings 2006).

Randy Jewart, an Austin Texas-based sculptor, and the founder and director of Austin Green Art (AGA), has an entirely different solution to building awareness around the question of sustainable living. Jewart found the best way to reach wide audiences is by starting an organization dedicated to green art. Through AGA, he aims to produce high profile public art with an environmental theme. AGA's first project, “Play with Hay”, allowed more than 250 artists, families and spectators to make a 2 acre installation using hay. Through his organization, Jewart builds community awareness around environmental issues by involving students, artists and the general community in his public arts projects. "Sustainability is the collective focus on moving human social and physical systems into a balance with nature" (Calder 2007).

Jewart believes that art can have a tremendous impact upon the community through participation and collaboration. "We invite all artists who can participate virtually in online exhibitions and discussions to become members,” he said. "Artists can take

14 Eluna is produced by GBU Limited Liability Partnership, a social enterprise based in Hackney in the East End of London, which is an off-shoot of the charity Free Form Arts Trust.

our collaborative program model and begin local projects with environmental groups and green-minded businesses.” Jewart concludes, “I believe we can model these fun, educational projects for communities worldwide - It will be artists who help reinvent society in fun, creative and sustainable ways” (Calder 2007, p.72).

Studying the work of these artists, brings to light, the many and varied ways in which they are addressing questions of sustainable practice. Ukeles reconfigured controversial sites for community re-use, while Donovan re-used massed produced consumer items as the raw material for her artworks. With an entirely different approach to the concept of re-use and recycle, Martin Goodrich of the Green Bottle Unit (GBU), orchestrated the transformation of a mass produced consumer item into an entirely new product. Warren Langley (See Ch. 3, p.23) produced beautiful art installations using low energy technologies, while sculptor Randy Jewart believes that building public awareness through community based public art is the most effective way to address the issue.

4.4 A FUSION OF PUBLIC ART, EVENT DESIGN & SUSTAINABLE PRACTICE

Public art is not always conceived for permanent display, but can also be part of a community event such as a festival, parade, exhibition or cultural celebration. This is where public art and event design merge: examples of which will be discussed in this section.

Puzzle4Peace is a project, which fuses the concept of public art and event design. The project began in 1999, when Italian designer, Gianluigi Ruju realised that even a simple, traditional game, such as the jigsaw puzzle could be adopted as a linguistic symbol and means of instant communication for introducing the general public to themes of solidarity, sustainability and peace. It was a project which embraced the concept of “respecting one’s neighbours and the environment” (Crimella 2009, p.49).

In 2005 Ruju and art director, Giuseppe Iavicoli created Puzzle4Peace. Later they were joined by C.S.R15 designer, Germano Gemini and in 2010 by Stefania Gatt,

15 C.S.R. (Corporate Social Responsibility) is an Italian, non-profit speleological organization dedicated to the exploration, research, and conservation of caves.

whose company, “Greenbuilding” initiates ideas around best sustainable practice for the built environment. Since its inception in 2007, this tremendously creative challenge has filled squares, monuments, streets and gardens all over the world with puzzle pieces painted, signed and performed by artists, children, families, schools and institutions.

The jigsaw pieces act as a framework for artistic activities and a stage for live performance and exhibition. More importantly it instigates the creation of authentic eco-design objects originating from a constantly evolving collaboration of project designers, artists and partner companies. A whole range of objects, all made from environmentally friendly ("nature-friendly") and recycled materials, contributes to the puzzle pieces. This is the largest multi-disciplinary, collaborative artwork in the world. It is now in the process of a round-the-world trip (Crimella 2009).

As public art and a cultural event, Puzzle4Peace has acted as an effective portal to bringing the message of sustainability and a respect for the environment to communities, transgressing geographical and linguistic boundaries. It is a perfect synthesis between sustainability, environmental awareness, beauty and functionality.

In the winter of 2009, Events NSW launched the Vivid Festival and Smart Light Sydney. Vivid Sydney is a festival of light, music and ideas and includes large-scale light installations and projections through to music performances, talks and lectures on ideas and creativity. While its satellite exhibition, Smart Light Sydney, celebrates through the display of light, sculpture, and a series of talks, sustainable innovations and the future of low-energy lighting design. A dynamic array of light sculptures and installations formed a pedestrian route around the city’s harbour precinct. These installations combining art and technology help build public awareness around the question of sustainability by showing, in an engaging and exciting way, how clever low-energy technologies and recycled materials can be used to create innovative artworks. As an education tool, to create greater public awareness, it was extremely successful. Drawing thousands of people out on a cold winter’s night over a 3 week period, Smart Light Sydney introduced the public to low-energy lighting, recycled materials, solar and manpower using the artwork to cleverly demonstrate its application. The festival was exciting, fun and informative for people of all ages and socio-economic backgrounds. 46

“Cloud of Bats” by architect Trent Middleton, industrial designer Ruth McDermott and artist Ben Baxter, is an art installation combining recycled materials and low energy LED lighting (Fig 4.1). While “Cycle” designed and created by a group of landscape architects and urban designers, harnesses the power of human energy to create light. The bicycles are also made from recycled materials (Fig 4.2).

“Lighting the Sails” a performance projection created by artist Brian Eno for the sails of the Sydney Opera House, uses bespoke projection lenses which improve energy efficiency enormously as well the quality of the illumination (Figure 4.3). Exact and

clever design of the pixel graphics ensure minimum light waste off the Sails’ surface and improved footprint coverage, saving energy through minimised equipment ('Smart Light Sydney' 2009).

A series of symposia sponsored by the University of Technology Sydney and Events NSW covered a range of related topics. “Engaging the City – Public Performance, Space & Light” addressed the question of how artists, producers and designers can contribute to the scenography of the city to achieve a vibrant and sustainable street life at night, whilst at the same time balancing the need for low energy consumption.

One of the speakers, artist Warren Langley, whose work “Aspire” (Fig 5.2) was referred to in the previous chapter, creates site related works for the built environment and natural settings. Langley is very mindful of using low energy technology, and incorporates solar powered cells, LED lighting, fibre optics and metal halide globes into his work. His sculpture “Vessel of Cultural Plenty,” part of Smart Light Sydney’s “Light Walk,” responds to changes in surrounding light. “The Vessel” uses fibre optic cables and just three low energy metal halide globes, 450W in total, to create almost 200 metres of linear light ('Smart Light Sydney' 2009).

The City of Sydney engaged Erth, a company that designs and creates performance pieces, to produce the main float for the Chinese New Year Parade in 2010. The City

was keen to display its green sensibility. So the lead float was made from recycled elements. In keeping with that year’s theme, they produced a Metal Tiger made up of old vacuum cleaners, cd players, kitchenware, sports equipment, bicycle parts, take away containers, children’s toys and multiple other pre-loved props. Up to 70% of the piece was made from recycled objects. The finished artwork was fully articulated, illuminated and measured 3 metres high and was paraded through the streets of Chinatown in front of an audience of thousands.

4.5 CONCLUSION

The final chapter in this section starts off by defining what is meant by public art and event design. It describes the history and culture of the two disciplines, outlining their similarities and differences. Contemporary public art and event design can be difficult to define as the boundaries between the two disciplines can often be blurred, with projects conceived from an interesting mix of cross-disciplinary collaborations. For this reason, in the context of this thesis, I have decided to view them as one cohesive disciplinary form.

This chapter examines the work of a cross section of event designers, installation artists, performance artists and curators whose work seeks to prompt and focus public attention and response to environmental issues, with tactics that radically expand to involve people and communities. While there are many similarities to best sustainable practice between this group of practitioners and the artists and designers described in chapters 2 and 3, there are significant differences in the thinking and culture of all the groups discussed. Whereas most forms of design are essentially product-based, art is traditionally museum-based and is a culture of exclusivity and permanence. Public art and event design, by its nature, is neither product-based, nor necessarily permanent.

What seems clear from this study is that public art and event design transgresses geographical boundaries and as such works effectively as a linguistic symbol and a means of instant communication, introducing the general public to themes of sustainability and a respect for the environment.

In the next section, I will examine in more detail the various ways creators of public art and event design employ best sustainable practice. Each chapter will explore a different aspect of their working methodology, and will include case studies, interviews from contemporary practitioners and my own experimentation.

PART TWO: STUDIO INVESTIGATIONS

A STUDY OF ENVIRONMENTALLY SUSTAINABLE MATERIALS, TECHNOLOGIES AND PROCESSES: EXPERIMENTATION, CASE STUDIES AND INTERVIEWS.

CHAPTER 5

SUSTAINABILITY AND THE CREATIVE PROCESS

“Never doubt that a small group of thoughtful, committed citizens can change the world. Indeed, it is the only thing that ever has” (Margaret Mead). HEGET ET AL 2000:664

5.1 PRELUDE

The aim of the first section of the thesis was to introduce the subject, describing its historic roots and underpinning it with theoretical analysis, to give a better understanding of the topic. In this next section I will expand this into a more detailed study of environmentally sustainable materials, technologies and processes relevant to the creation of public art and event design. This will take the form of case studies, interviews, forums, talks and other forms of research.

5.2 SUSTAINABLE TECHNOLOGIES

This section explores what is meant by sustainable technologies16, and how these new technologies are being utilised by artists and designers working in the field of

16 Sustainable technologies use less energy, fewer limited resources, do not deplete natural resources, do not directly or indirectly pollute the environment, and can be reused or recycled at the end of their useful life.

public art and event design. Artists Allan Giddy and Warren Langley (creators of public art installations), and lighting designer Mary-Anne Kyriakou (curator - Smart Lights Festival), talk about their commitment to employing best sustainable practice in their own work and their opinions on the future of environmental art and design.

The first section of this chapter examines the work of a number of artists and designers whose work involves experimenting with new low-energy lighting systems. The efficacy of these systems in terms of power consumption, luminescence and suitability to their work will also be discussed.

The second section looks at the alternate power sources these practitioners are employing, how this relates to their work practice and what obstacles they encounter along the way. And finally special effects including projection, smoke effects, fireworks, laser technology and other visual effects employed by designers, to add magic to a festival or event, will be discussed.

LIGHTING

New technologies such as LEDs, nano-materials and advanced software design programs are revolutionising the design of lighting. They are offering not only sophisticated and flexible lighting solutions, but also energy-efficient, environmentally sustainable alternatives. Specifications include low energy consumption, excellent colour rendering, no emission of UV rays, total absence of heat dissipation, and an extremely long lifetime.

New Zealand-born sculptor Allan Giddy lives and works in Sydney. His pioneering use of alternative energy systems and light, in ‘Time-Based Sculpture17’ began in 1992. Over time his practice has expanded into the public domain, and can be described as ‘active public art’. He specialises in the design, construction and installation of robust, high profile, sustainable public art, small renewable energy- producing systems and remote sensing and switching systems. His work also involves the adaptation and lighting of heritage features in architecture and heavy

17 Sculpture with the addition of a time element.

machinery and the rehabilitation and reinvigoration of ‘degraded’ public sites (Giddy 2010a).

Originally an electrician, Giddy has always had an interest in lighting and power. He started incorporating solar energy into his works in 1994. Lighting technologies have developed enormously since Giddy starting working as an installation artist. In fact because some of his projects take several years to complete, the original technology he considered using, has been already superseded. “I calculated the absolute best technology 4 years ago when I began, and it was using something like 500 watts per unit and now I’m able to get a unit that might do the same job that will be less than half the wattage. In other words I can delete half of the energy I need on a daily basis because the technology has moved on without losing any luminosity at all. The original lighting I considered was metal halide18 and the type of lighting I am now using is LED19 technology. This technology has developed rapidly, and these colour- changing LED (RGB), are able to produce up to 300 grades of colour” (Giddy 2010b).

Warren Langley is an Australian sculptor who creates site related works for the built environment and natural settings. His principal medium is remote source lighting, and for the past 15 years, he has experimented with a number of different light technologies.

Unlike Giddy, Langley confesses to being a complete technophobe. His background is in geology, which helped to develop his ongoing fascination with the patterns and markings of the landscape. So while Giddy is fascinated by the mechanics of lighting and energy systems, Langley’s fascination is based on the intrinsic beauty and seductive qualities of light. He says, “It’s a delicious medium to work with, but also I like works that have a dialogue with the day, so that they are one thing during daylight hours and something quite different by night” (Langley 2010b).

18 Metal halide lamps, a member of the high-intensity discharge (HID) family of lamps, produce high light output for their size, making them a compact, powerful, and efficient light source. Originally created in the late 1960s for industrial use.

19 A light-emitting diode is a semi conductor light source. LEDs present many advantages over incandescent light sources including lower energy consumption, longer lifetime, improved robustness, smaller size, faster switching, and greater durability and reliability. A standard 40W incandescent bulb has an expected lifespan of 1,000 hours while an LED can continue to operate with reduced efficiency for more than 50,000 hours, 50 times longer than the incandescent bulb.

About 15 years ago, Langley started experimenting with optic fibre cable, which he found fascinating because it could be used underwater. Prior to that, he had always worked with glass, until he realised that in fact water had very similar qualities. It mirrored those properties of reflection, refraction and diffraction but on a huge scale. Then gradually he began using LED technologies.

Langley’s fascination with light and how it related to the landscape, led him to experimenting with a variety of low energy lighting technologies. In his desert installations he used lateral emission optic fibre, or side-glow cable, which is a particular type of optic fibre cable that allows light to bleed out along its length. More recently, an LED equivalent has come onto the market. Hundreds of metres of continuous LEDs on a roll are available under the various names of “neon rope,” “rope light,” and “neon flex.”

But despite Langley’s fascination with these new technologies, he doesn’t regard himself as ‘green.’ “It was just that all the interesting new light technologies just happened to be sustainable. Neon was pretty sustainable in its own right; it drew very

little current and that was part of its appeal. Plus it was very cheap to run. On the downside, it was dangerous, easy to break so therefore, difficult to transport” (Langley 2010b).

Like Langley, Giddy is reluctant to describe himself as being ‘green’ but rather a pragmatist, who just happens to use sustainable technology. “In some ways I’m not green because if I needed to use metal halide, I still would. But it would mean I’d have to think about maybe adjusting the way and the amount of energy that I’m producing in the system and how I’m getting it. Metal Halide is green, but compared to LED, it’s not.” He adds, “A compromise would be to use dichroic20 lighting which still has a nice colour range” (Giddy 2010b).

Both these artists talk in terms of using appropriate materials and technologies in their work, rather than specifically ‘green’ choices. While they are both mindful of using sustainable technologies where possible, if it’s inappropriate to the project, they will use an alternative solution.

Langley believes that general awareness about harming the environment and the importance of sustainable practice is a relatively new phenomenon. Certainly people of his generation had no idea that they were harming the planet. Now of course he is particularly interested in utilizing sustainable technologies in his projects. However that has been only relevant to his practice, in the last 10 years.

Langley talks about the differences between creating site-specific public art and artworks for festivals or events. According to Langley, the main differences lie in the budget and the lifespan of the artwork. The events industry has embraced all forms of innovative technology from digital projection to a wide range of theatre style lighting effects, all of which look spectacular, but most are neither sustainable nor appropriate to public art. “They look great, they dazzle the client, you’ll win the job, and then five years later, they’re screaming because it’s costing them $60,000 for new equipment. So on the one hand these new technologies are opening up a fabulous new repertoire

20 Sometimes known as “cool beam” lamps, dichroic lamps have a special multi-layer coating on the reflector of the lamp. This means that visible light is reflected forwards whilst the heat is transmitted backwards through the rear of the lamp. The word “dichroic” literally means “two coloured”.

of possibilities for public art, at the same time, those of us who work in that arena have to use restraint and be practical.” A lot of these technologies are very expensive to run; the equipment and the maintenance make it unsustainable financially. A combination of tight budget restrictions and a longer life expectation, make it more practical for the installation artist to explore simpler, more practical technologies and solutions (Langley 2010b).

Sometimes these simple, inexpensive solutions form the basis of very creative and often innovative ideas. Take “The Portable Light” project; an example of a design solution which combines design research with social action and provides a product that is useful, reliable, inexpensive to manufacture and environmentally friendly.

The team from the US technology solutions company, KVA21, coupled energy-efficient light-emitting diodes (LEDs) which produce cool, bright light and use very little electricity with photovoltaic cells which convert sunlight into electricity, to create a system whereby they could provide electrical light and power to a very large number of people, who do not have access to electricity (Kennedy 2007).

By necessity, the project needed to fulfil several major criteria. It was imperative that the system didn’t rely on a centralized electrical grid, it needed to be fully autonomous and reliable, the lighting system needed to be lightweight to reduce transport costs and rugged enough to ship and use without breaking. Its elements needed to last for several years with components that could be easily replaced, remade or recycled. It also needed to be very affordable and versatile, so that it could be adapted for many purposes across different cultures. The size and form needed to be flexible enough to incorporate changes over time, and it was able to collapse down for efficient packing and shipping.

These characteristics were essential in determining the design features of the Portable Light. As a renewable system, each Portable Light unit is self-contained in that it generates its own power in a flexible, adaptable textile form. It combines high-brightness light-emitting diodes (HBLEDS) from pedestrian walk signals, water-resistant tactile switches from dishwashers and rechargeable batteries from cell phones, all sourced

21 KVA is a research and development company who specialise in promoting uses for low-cost advanced high strength martensitic stainless alloys.

from consumer appliances and standard technologies to produce a portable, personalized system. The units can be carried with their owners to provide access to light and power when needed (Kennedy 2007).

The manufacturers, in countries with established economies, were shown how their standard, low cost technology could gain additional value in a completely different application and ‘needs-based’ market (Kennedy 2007). This is an example, whereby the innovation lay in altering the perception with the technology industry, in how their products could be used, combining seemingly unrelated components to create something that was inexpensive to produce, had a low impact on the environment, was adaptable and fulfilled the needs of a community.

Steve Howarth, creative director of the performance-based company Erth, has found the new energy efficient lighting has other, very practical benefits. Erth, which is an acronym for Environmentally Recycled Theatre, was born in the late 80s out of a combination of youthful activism and the desire to make a difference to the environment. A group of young artists and performers from country Victoria decided to express their concerns about the destructive forces of commercialism, through performance art.

The development of LED lights, which are now more accessible, means that the group can have smaller components generating greater amounts of light, which draw less power. In a practical sense, if they have to strap a 40 kilo object onto a performer, 10 percent of the weight is no longer taken up by a battery just to drive the lights. Because LEDs draw less power, their power source can be much smaller. This provides a physical benefit to both the performer and the performance (Howarth 2010).

Smart Light Sydney is a festival that celebrates sustainable innovations and the future of low-energy lighting design through an array of light sculptures around the city’s harbour precinct, experiential light and music installations and British artist Brian Eno’s lighting of the Sydney Opera House sails.

The sculptures and installations include low-energy technologies such as LED lighting, fibre optic cables, energy efficient fluorescent lights, metal halide spotlights, bespoke projection lenses, photovoltaic cells as a power source, the use of recycled materials, and in some cases, have made use of existing or ambient light and reflective surfaces.

Curator of the festival, Mary-Anne Kyriakou, is also a lighting designer, artist and musician. She has a totally different perspective on sustainable lighting technologies born of her background as a lighting designer and electrical engineer. She is interested in the science and design of the lighting and how it makes people feel. She has long been a fan of LED lighting technology when as a child her father bought her a simple Dick Smith electronics kit. One of her earliest assignments while working as a cadet electrical engineer for Qantas was to do maintenance on the overhead passenger service units. They were starting to replace the lighting with LED lighting. And at that time, she thought, this is going to overtake our general lighting systems (Kyriakou 2009).

LED LIGHTING TECHNOLOGIES

There are a wide range of LED products available which are suitable for use in public art installation and event design. LEDs are the light source of the future, having extremely long life and minimal maintenance. Their small size makes them very versatile; they provide high levels of efficiency and beam control. They contain no mercury and emit no UV or IR22 radiation. Their low power consumption means low energy costs: and their low voltage means easy installation.

In 2009, the lighting company Philips produced a very new style of streetlamp, which is part environmental design, part installation art. The Light Blossom (Fig 5.3) with its uniquely organic design collects all the power it needs from the sun and wind. It was so named because it emulates the way ‘petals’ slowly unfurl. During daylight hours, the ‘petals’ of the lamp spread wide to optimise the position of their solar cells, continuously orientating themselves to maximize the sun’s rays. On windy days, the ‘petals’ automatically transition to a half-open position so they spin in the breeze, which the internal rotor converts to electricity. At night the ‘petals’ sweep upward so that the LED arrays on the underside can provide light below. In addition, the Light Blossom is designed with integrated motion sensors, so it offers a low-light standby mode as well as brighter ambient lighting when people pass nearby. The Light Blossom’s LEDs use half the energy of traditional streetlamps for the same light output. It not only provides truly

22 Ultraviolet and Infrared radiation

green lighting, but can actually supply power back to the grid when it overproduces electricity, making it a light pole that generates rather than consumes power (Benjamin 2009).

Figure 5.3 Philips Light Blossom Figure 5.4 “Spiralight” Robin Carpenter

Robin Carpenter’s LED chandelier, Spiralight (Fig 5.4) was a hit at the IMM Cologne design fair of 2007 where it was exhibited. Evoking a gallery of stars, the eye-catching piece demonstrates the creative use of tiny light emitting diodes in a visually stunning application. Delicately suspended with 216 LEDs meticulously interwoven into a single twisting strand, it is typical of the Berlin designer’s signature aesthetic (Chong 2007).

In 2009, I was commissioned to design and install a 7 metre Xmas tree to be rigged above the existing water feature at the entrance to Star City casino in Sydney (Fig 5.5). As the casino was in the process of major renovations and rebranding; it was time to move away from the more traditional themes of past years and create something more contemporary in keeping with it’s new look. In doing so, I was mindful of employing sustainable practice wherever possible, but like the installation artists described earlier in this chapter, I tried to do so, without compromising the design.

As an event designer, I always suggest the ‘green’ solution. The reality is however, while a few clients are happy to embrace best sustainable practice, most believe that this will attract additional costs, which they are unprepared to meet. While the engineer insisted 58

that the armature be made from new, rated steel, for safety reasons, the client was happy to decorate it with 400 metres of low energy LED cliplights. Of course the selling point was financial sustainability. Not only do they draw less energy than traditional lighting systems, but as a product, are infinitely adaptable. The huge colour spectrum together with its unique computer programming system, makes it possible to change the look and feel of the whole display for little or no additional cost and therefore be suitable for multiple use.

LED Cliplight is a professional, commercial grade LED product that has thousands of decorative lighting uses. The product incorporates very high quality LED technology and is IP4423 rated so is suitable for both indoor and outdoor applications. It is used as decorative lighting for festivals, special events, underwater lighting, displays, theme parks, and temporary installations and gaming lounges ('Decorative LED Lighting' 2011).

LED Flex Neon is a super-vibrant, flexible LED product with a long lamp life and low energy consumption. The product is a preferred alternative to neon signage due to its much safer voltage and ease of installation. LED flex neon is designed for direct illumination situations where the light source is seen, such as the exterior of buildings, structures and installations. It is available in 5 vibrant LED colours and RGB.24

The LED fibre-optic kit is suitable for decorative-architectural lighting projects where low-energy and low maintenance solutions are required. Each kit consists of a powerful LED light engine and 80 fibre optic strands. Its input voltage is 12 VDC25 and power consumption 6 Watts. The light engine can be connected to a controller for full function and colour change control. It is suitable for star-field ceilings, decorative lighting, animated display boards and special effect lighting.

23 IP stand for Ingress Protection. It is a rating that describes the protection a fitting has from intrusion of Solid and Liquid material. For Example a Rating of IP44 would be used on an exterior fitting that may get rained on.

24 The RGB color model is where red, green, and blue light are added together in various ways to reproduce a broad array of colors. The name of the model comes from the initials of the three additive primary colors, red, green, and blue.

25 Volts Direct Current 59

There are a wide range of LED lighting products available, from RGB LED strip lighting, flexible ribbon and bars. For example RGB flexible ribbon can produce over 16 million defined colours when used with an RGB controller. The product can display any selected fixed colour, or can be programmed to display dynamic colour-changing effects and animations.26

A new LED technology - organic LEDs (OLEDs) promises to revolutionize lighting design. OLEDs are paper-thin sheets of lightweight organic material; a polymer plastic that illuminates when a small electric charge is applied (Fig 5.6). OLEDs are mercury free, dimmable, lightweight, flexible and thin. Several companies and research institutes are collaborating to develop OLED lighting technologies; their goal is to commercially produce paper-thin light sources that generate 50 lm/W27, consume much less energy than fluoros and have 10,000-hour lifetimes. One fascinating innovation is a combination window/light source that uses transparent OLEDs working as windows by day and light sources by night. Another is wallpaper that illuminates, which requires a very low operating voltage (between 3 to 5 volts), making solar panels as its source of power extremely viable.28

26 For details see: http://www.superlight.com.au

27 LuMens per Watt: Luminous efficacy is a figure of merit for light sources. It is the ratio of luminous flux (in lumens) to power (usually measured in watts).

28 For details see: http://www.cetnaj.com.au/aus/consumer/energy15.htm

Volume is a large-scale immersive light and sound installation created by United Visual Artists in collaboration with Robert Del Naja of Massive Attack. It first appeared in the garden of London’s Victoria and Albert museum in 2006, and has since traveled to Hong Kong, Taiwan, St. Petersburg and Melbourne (Fig 5.7). It consists of a field of 48 luminous, sound-emitting columns that respond to movement. Each column contains a matrix of multi-coloured LEDs and a speaker. UVA used a custom written camera tracking software to watch people moving through the space, thereby triggering the artwork’s performance, based on the proximity of the participants. In the absence of visitors, the colour gradient fades and the work becomes dormant, until awoken by movement, when it pulsates once again with white light and sound.29

Not all energy-efficient lighting technologies are LED. As the transition to sustainable light-source solutions accelerates, new products are being developed. At the 2010 Green Product Expo (New York City), NY1’s technology reporter Adam Balkin states, “When we talk about the future of lighting, can you ever imagine replacing a giant street lamp with something the size of a tic tac? Which by the way, developers insist is not only more energy efficient, but also a lot more powerful. The light uses so- called 'light-emitting plasma,' (Fig 5.8) which is similar technology to that of a plasma TV” (Balkin 2010). They will replace typical 400-watt metal Halide systems and save about 50 percent energy, have three times the life, better color and more light, at a

29 For details see: http://www.uva.co.uk

much lower overall cost (McGettigan 2011). This product has a 50,000-hour lifespan, which is three times longer than conventional high-intensity discharge lamps. Moreover, LEP can be dimmed to 20 percent—a feature that offers additional energy savings.30

A study of the work of these artists and designers, together with current and developing lighting technologies, reveal that many are no longer using the more traditional forms of lighting, such as metal halide and fibre optic. With improvements to light quality and colour, these practitioners are finding that LED is both a flexible and financially viable solution. Portability and autonomy are becoming desirable characteristics of today’s art and design. Powering lighting using renewable energy sources, which are cable-free, have become the popular alternative. The next section looks at renewable energy systems and how they are changing the face of contemporary art and design.

RENEWABLE ENERGY

There are many roles for the artist to play in the emergence of a renewable energy economy. Artists can influence and help introduce clean technologies to people, educate them in their potential use, explore the ways in which, renewables interact

30 For details see: http://www.luxim.com/dynamic/display.php/93

with everyday life, and stir people to action. Artists have the ability to make things beautiful, create impressions and stirs emotions. The art community has long taken a critical approach to the problems of energy use and production. Now they can take an active role in solving the problem through their own work in a solution-based art practice and showing-by-doing.

As we move towards a renewable energy future we should recognise the inherent differences that exist between the old and the new means of energy production and the changes to the built environment that consequently follow from this shift. As the days of the gas or coal fired power plant on the outskirts of the city come to a close, we will find more call for the integration of energy production within the fabric of our commercial and residential communities. The need for large scale power generation will still be with us for many years to come, but it will be augmented more and more by urban and rural micro and mid-scale generation. A holistic approach to a renewable energy infrastructure should include design that blends in with the surroundings both visually and environmentally. It is important these installations integrate with the fabric of the urban community. What is needed in order to bridge the gap between a need for a renewable future and the community’s expectations is an artistic movement that takes into consideration aesthetics while at the same time, embedding a sustainable infrastructure. After all, sustainability in communities is not only about resources, it is also about harmony.

Renewable energy art produces power from renewable sources, such as solar, wind, geothermal, hydroelectric or tidal. These installations are functionally both a renewable energy generator and an artwork, fulfilling utilitarian, aesthetic, and cultural functions. Echoing the philosophy of the environmental art movement as a whole, artists creating renewable energy sculpture believe that the aesthetics of the artworks are inextricably linked to their ecological function.

With a background as an electrician, artist Allan Giddy was drawn to creating artworks using energy. His interest was originally in kinetics, but developed to incorporate lighting and energy systems in the early 1990s. He started using alternative energy systems as a means of powering site-specific installations where no resources were available. “I started to be involved in tight energy production and use, which taught me to cut the energy I was using within an artwork to get the effect that I wanted 63

down to the bare minimum and get the production as high as I could within the limits of the site I had available” (Giddy 2010).

Giddy became acutely aware early on, that there was a fine balance between the site and the resources required. He found that each site yielded different results. If he moved the same work from one site to another, those requirements changed. “I have become aware of energy systems within sites and their ability to yield or to harvest energy and in that way I’ve become green” (Giddy 2010b).

Langley, like Giddy, talks about using appropriate materials and technologies for each project. And sometimes appropriateness takes precedence over its sustainability. For example renewable energies such as solar and wind power work well for the artist who wants to create ‘stand alone’ artworks. They are no longer bound by drawing electricity to power their work from the grid. So when he submitted plans for a huge installation just outside Melbourne, he decided it would be entirely solar powered. For Langley this was a major step, and he felt for him, he was taking public art into a completely new direction. “It is one thing to use highly sustainable LEDs and another thing to have the whole lot running on solar power. We developed some pretty interesting technology for it” (Langley 2010).

While Langley is only just now integrating solar power into some of his works, Giddy has been using alternative power since the early 1990s to enable his artworks to be autonomous. For him, right from the beginning, it was more a question of aesthetics. Rather than laying ugly cables, he preferred to integrate the power source into the artwork.

For many artists, integrating renewable technology into their work is not just about creating autonomous artworks, but is an important aspect of the work’s aesthetic. When the City of Pasadena wanted to bring some beauty to an electric power plant, little did it realize that the design idea would grow into a completely sustainable solution that would enhance the area, increase safety and security and be aesthetically pleasing. Developed by UeBERSEE,31 the botanically inspired

31 UeBERSEE is a design company which partners with corporations and creative agencies to expand their campaigns into branded experiences. Their services include market research, creative consulting and visual concepts to prototyping and the supervision of final production 64

PowerSEED art installation is made up of solar powered lights sprouting up throughout different areas of site. The art project is made up of 30 individual PowerSEEDs (Fig 5.9), each one made out of a fully solar powered light set on top of a 24 metre flexible pole, which swings gently in the wind like a large sunflower. Each unit can be shifted if needed in accordance with the needs of the installation and development of the site. The ephemeral feeling of the installation gives a sense of beauty as well as functionality (Chapa 2007).

Giddy’s “Earth v Sky” commissioned by the City of Sydney, is a work in progress. Giddy will light two huge Moreton Bay fig trees in a Sydney Harbour waterfront location, using a state-of-the-art silent wind turbine, located alongside the trees to power the intelligent lighting system. Lit from all sides, the trees will respond to the changing shades of the twilight and night sky. Particularly noticeable during sunset, the trees will visually complement the changing colours in the sky, as the lighting system continuously adjusts in real time; as the sky turns yellow/orange the trees will become blue/green. The world’s first colour-sensitive public light control system is being developed specifically for this task, with the assistance of photovoltaics expert Robert Largent (Manager, Design Assistance Division, Centre for Photovoltaic Engineering, Centre of Excellence for Advanced Silicon Photovoltaics and Photonics, UNSW.32

Also using wind energy is multimedia artist Michael Pendry whose lighting installation, “Siemen’s Superstar,”(Fig 5.10) illuminates an entire soccer stadium in Munich. Fitting a towering wind turbine with light-emitting diodes (LEDs) and creating a highly visible symbol for climate protection and sustainability, Pendry in collaboration with Siemens33, has achieved a unique and pioneering technical installation. Around 9,000 LEDs, in especially aerodynamic adapters, made to minimize any effect on its performance, brilliantly light up the wind turbine. And yet the entire installation uses only as much electricity as a hair dryer. Its span is nearly 70 metres and in good weather, can be seen for over 30 kilometers.

32 For details see: http://www.allangiddy.org

33 Siemens is a global company specializing in electronics and electrical engineering.

In 2008, Siemens and Pendry first discussed the possibility of creating a shining symbol for green technologies and sustainability prior to the Global Climate Summit in Copenhagen. What better symbolizes the sustainable use of energy than a wind turbine. Experts in various disciplines such as wind energy, aerodynamics, lighting and adhesives got together to sketch out all aspects necessary for realizing the project. “Munich has a new landmark. It stands for renewable energies and energy efficiency and these are also important issues for Munich. By 2025, we want Munich to be the world’s first city to meet all its energy requirements from renewable sources,” noted Munich’s Mayor Christian Ude enthusiastically.34

Although the main purpose of Smart Light Sydney was to showcase different sustainable lighting technologies, many of the artists involved also used low energy power systems to light up their works. Many interesting creative collaborations occurred, where expertise was required across a number of disciplines.

Clouston Associates are landscape architects and urban designers with over 30 years’ experience in creative public design and art installations. Peter MacLean of Lighting, Art + Science is one of Sydney’s foremost lighting designers with extensive public lighting experience. The installation “Cycle!” (Fig 4.2) was developed by a team of landscape architects from Clouston Associates with technical advice from MacLean. “Cycle!” utilises low energy LED and laser technology, bicycles made from

34 For details see: http://www.siemens.com/press/en/events/corporate/2009-11-29.php

recycled materials and harnesses the power of human energy to create an undulating sea of dancing lights. This interactive and fun light art installation, allows the public to power the artwork themselves through pedalling bicycles linked to generators.('Smart Light Sydney' 2009).

Another Smart Lights installation, “Birds,” created by lighting designers Emrah Baki Ulas and Miriam Roos, relies on natural light by day and existing inground up-lights by night, to illuminate a flock of abstract bird shapes. Strung on wires between the palm trees along the promenade at Circular Quay, this installation uses no new energy, relying on existing light sources from its environment to light up the artwork. While I admire the resourcefulness and message these designers are conveying, nonetheless, this artwork didn’t achieve its goal. Although, undoubtedly it was meant to be lit in a subtle and mysterious manner, the position either offered too little ambient light, or the materials used were not sufficiently reflective, or both. From a spectator’s point of view, the “Birds” was too dimly lit to be visible.

On the other hand, artist Andy Uprock, another Smart Lights exhibitor, succeeds in illuminating his installation “The Paradox Between Light And Time,” relying on nothing but ambient light and using no energy to achieve his results. His graffiti-like work made of thousands of empty plastic cups, was positioned high up on Observatory Hill, unimpeded by shadows and using a raw material whose colour and texture maximise light reflection ('Smart Light Sydney' 2009).

At a conference on Art and Sustainability,35 in Brussels this year, Spanish researcher Nacho Zamora talked of his passion for the synthesis between sustainability, education and innovation within the field of public art. His website Solar Artworks Project focuses on solar powered public art installations. His definition of solar artwork is one, which combines art, architecture, design and science and is linked by the common objective of making our cities sustainable. Creators of solar artworks are multidisciplinary groups of specialists from all around the world. Some of these collaborative groups include UK studio Loop pH, the Land Art Generator Initiative (LAGI) in the US and artists Sarah Hall (Canada) and Brian

35 This conference was part of the EU Sustainable Energy Week in Brussels in April 2011.

Borrillo (USA).36

Loop.pH is a London based art and design studio, which specializes in the creation of experimental textile and innovative resources to create eco-friendly installations. The founders, Mathias Gmachl and Rachel Wingfield are transdisciplinary artists working in the public realm, bringing together scientific research and cutting edge materials with the familiar practices of textile crafting and spatial design. Based on scientific investigations, Gmachl and Wingfield have tried to imitate biological structures to build their flexible and lightweight architecture. The objective is to understand and apply scientific elements to new solutions in design, architecture and art within urban spaces. Their portfolio spans the design, construction and fabrication of architectural, structural and responsive textiles for both private and public environments from hospitals, museums to parks and private collections. In addition, they organize activities with local citizens to promote environmental awareness through the artistic experience.

Part of their wide-ranging toolbox is a new method to construct space using a strong, lightweight structural system wherein circular elements are tangentially joined. The system is simple, expandable and modular allowing construction of virtually any topology. Their project, Sonumbra, is an interactive artwork: a beautiful, complex form of textile, which has integrated solar cells (Fig 5.11). This work goes beyond the relationship between people and the sculpture, using an advanced movement detection technology that can sense the presence of people and respond to them with light and sound. The incorporation of solar cells into the structure converts this textile into a modular photovoltaic membrane, which can provide shadow during the day and bring light at night. This membrane has integrated small LEDs that can illuminate a place using minimal energy.37

On a larger scale, potentially able to power entire cities, the Land Art Generator Initiative, a collaboration between artist Elizabeth Monoian and architect Robert Ferry, merges renewable energy sculpture with land art. The project's first stage is an

36 For details see: http://www.solarartworks.com

37 For details see: http://loop.ph/bin/view/Loop/WebHome

international design competition that invites interdisciplinary teams of artists, architects, scientists and engineers to design large-scale renewable energy sculptures for sites in the United Arab Emirates. Their main objective is to advance the successful implementation of sustainable design solutions using interdisciplinary creative processes to integrate art into renewable energy infrastructure. They have also designed an "energy literacy" project that intersects art, science and sustainable technologies with the objective of educating people about the concepts of aesthetic, clean energy generation.

An interesting design submission for the competition is Solar (ECO) System (Fig 5.14), an installation, which captures energy from the sun, and converts it into electricity, using innovative photovoltaic technologies. The photovoltaic panels are different for each planet, according to their different materials, shapes, colours and textures. They have maximum outputs even in high ambient temperatures and with diffuse light, and convert all the surfaces of the sculptures into energy generators. According to the artists, Antonio Maccà and Flavio Masi, this is a soft intervention that does not have any negative impact on the natural surroundings nor the ecosystem of the site.38

38 For details see: http://www.landartgenerator.org/project.html

Sarah Hall, a Canadian stained glass artist, notable for her extensive career, and current experimentation in the integration of photovoltaic technology into glass. The Regent College in Vancouver has a wind tower, which provides natural ventilation for the college library. Hall’s artwork, “Lux Nova” (Fig 5.13) is a matrix of solar panels embedded in the tower's prismatic glass facade collecting energy throughout the day. At night, the stored energy is used to illuminate the tower via a column of computer controlled LEDs. Hall believes that "Incorporating colour, light and art with solar energy inspires us to think about our future in a new context."39

Brian Borrello’s Silicon Forest is a perfect example of the integration between new technologies and urban landscape (Fig 5.12). In a place degraded by industrial activity, Silicon Forest has become an aesthetic reference for this train station in Portland (USA), where it has been permanently located. The organic forms illuminate the surroundings at night by using the solar power that has been collected during the day. Brian Borrello's concept for this public art piece references both the forest industry of yesterday and the high-tech industry of today (Zamora 2011).

39 For details see: http://www.sarahhallstudio.com

American Artist Christine Corday's international project, "Instrument for the Ocean to Play" utilizes tidal energy to produce a low frequency sound through a monumental nautical sculptural installation. The sculpture's intent is to inspire the imagination of a yet undiscovered sound, however its technology brings attention to a renewable energy that harvests tidal power to create that sound.40

In terms of renewable energy power systems, it seems the most commonly employed by artists and designers are solar and wind. Solar power is perhaps the most accessible, and therefore the reason it’s most commonly used. Artist Allan Giddy will consider the gamut of energy systems when deciding which is most appropriate for a project. “The most important thing, going back to balance, in any energy system, is it has to produce more energy than it uses. So I always use devices, which allow me to produce as much energy as they can for any given site. Generally solar does the job. I use wind power as well. I’m building a work at the moment that will be powered by, or offset by, wind power. There are all sorts of other things I have up my sleeve in case I need them, like hydro that I know how to operate. And

40 http://www.cumoa.org/english/sub.html?pid=149&category=&formtype=view&code=169

even cranks and pedals if that’s all that is needed to provide a little bit of energy” (Giddy 2010).

SPECIAL EFFECTS

Special effects refer to the illusions used in film, television, theatre and the entertainment industries to simulate imagined events. These can be divided into visual effects, which refers to digital post-production or in-computer effects and are normally associated with filmmaking. Mechanical effects, on the other hand, include mechanised props, scenery, scale models, pyrotechnics and atmospheric effects such as wind, rain, fog and snow. This section will focus on a selection of mechanical effects relevant to the events industry, their effect on the health of our environment and how this is being addressed.

Special effects are employed across a number of different entertainment industries. Although the film industry seems to have the most comprehensive literature about sustainable practice with regards to these effects, the same principles can be applied to events. “Greening the Screen” is an online sustainability toolkit for the screen production industry. It contains practical advice and improvement measures that can be implemented on any production regardless if it is film, television or an event. They suggest carrying out an environmental impact assessment studies for the special effect, to identify measures needed to protect the environment and to put systems into place to contain and collect any materials that are hazardous such as fuel, oil, paint, solvents and batteries. They state, where possible compostable or recyclable materials should be used, for special effects such as snow and to contain the area, so the materials can be recovered ('Greening The Screen').

The Australian pyrotechnics company, Howard & Sons is globally renowned for some of the world's most spectacular fireworks spectacles. Their expertise is in the design, development and manufacture of pyrotechnic special effects and the use of computerised firing systems integrating lasers, waterscreens, sound and projection. Christian Howard and his team of pyrotechnic designers and producers have spent 18 years perfecting a product range, which can be fired indoors or outdoor where the audience is within close proximity. The effects have no fallout and are smokeless,

which makes them ideal for sporting events, concerts, theatrical productions, corporate and private events.41

Their most recent show was FireDance part of the winter festival, Vivid Sydney 2011. The performance of dancing fire in this intimate harbour arena around Campbell Cove erupts as 40 fire jets flare and flame to the music of Stravinsky’s Firebird Suite, in a choreographed balletic performance. The Vivid Sydney website claims, “FireDance uses a pressurised non-toxic hydrocarbon liquid in its FireJets” ('Vivid Sydney' 2011).

According to their environment policy, Howard & Sons has a serious commitment to minimising the environmental impact of their business practices by using less material, exercising greater efficiency and choosing to use products, suppliers and procedures that are mindful of their environmental impact. They have developed and implemented a range of practical initiatives in the workplace. These include recycling, waste reduction and minimisation. The procurement of supplies made from recycled material, low fuel consumption and reducing CO2 emissions by minimising transport through car pooling, the use of energy-efficient electronic equipment and renewable energy, are practices integrated into their work ethic. When building their fireworks factory, a geothermal heat pump system was installed. This heats several buildings including the important drying rooms where pyrotechnic compositions are dried over several days in a temperature stable, controlled environment. Geothermal energy is a ‘green’ energy alternative that they use to reduce the impact of their core business activities on the environment.42

Their manufacturing and logistics headquarters are located on a beautiful 120 hectare (298 acre) property in rural New South Wales, where native flora and fauna flourish. More than 3,000 native trees are currently planted on the property including more than 600 mature eucalypts, which offsets close to 400 tonnes of carbon emissions annually. They claim their carbon footprint is currently estimated at between 80 and 100 tonnes per year nationally. As the remaining trees reach maturity and new

41 For details see: http://www.howardfireworks.com.au

42 For details see: http://www.howardfireworks.com.au/green-environment-policy

plantings continue: this along with their current waste reduction initiatives will ensure they continue to offset their emissions into the future.43

There are generally 4 types of fog effects used in the entertainment industries: Smoke, Fog, Haze, and "low lying" effects. Smoke effects refers to theatrical atmospheric effects produced either by pyrotechnic materials, such as smoke cookies (Lycopodium powder) or other flammable substances such as incense. Smoke is differentiated from other atmospheric effects in that it is composed of solid particles released during combustion, rather than the liquid droplets, which constitute fog or haze effects. Smoke machines are commonly used in festivals and events. There are many different types on the market, which use different fluids and machines to produce a variety of smoke and fog effects ('How Fog Machines Work' 2011).

Fog machines and fluids are designed as systems and as such, different fluids require specific temperatures for optimum performance. Manufacturers of fog equipment design their machines to be compatible with their fluids. If a machine is calibrated at too low a temperature for a given fluid, the result can be "wet" fog that can leave a residue. If the temperature is too high, the fluid can "burn" or decompose the fluid, thus changing its chemical composition. This "burning" can create harmful by-products ('How Fog Machines Work' 2011). One of the most common effects used in theatrical performances, is a fog that creeps along the ground. The usual method of achieving this is by dropping solid carbon dioxide (dry ice) into hot water. However the dry ice only lasts a short time, making the effect quite costly. When the output of a fog machine is chilled below ambient temperature, it will achieve the same look. There are several methods of doing this, but the most economical is to run the fog over dry ice. When the fog is chilled, it lays low to the ground. If dry ice is used, it will last far longer than the conventional method. Liquid nitrogen, or a mix of the two gases, in a liquid state, can also be used for a similar effect.44

43 For details see: http://www.howardfireworks.com.au/green-environment-policy

44 For details see: http://www.rosco.com/australia/technotes/fog/how_mach_work.cfm 74

Developed more than 30 years ago, Rosco Fog Fluid was created as a non-toxic alternative to potentially hazardous petroleum based fluids. The development of this fog fluid was considered so innovative it won an Academy Award in 1985 ('How Fog Machines Work' 2011).

In 1992, US special effects practitioner, Jim Doyle won an Academy Award for Technical Achievement for a Dry Fogger he designed and developed, which uses liquid nitrogen to produce a safe, dense, low-hanging dry fog.45

According to Doyle, “theatrical "fog" machines produce a very fine mist of propylene glycol, ethylene glycol and water in some combination. He says ethylene glycol is not used much anymore, as it is too toxic.

There are three ways to create fog effects. Using dry ice in contact with hot water to produce low-lying fog made up of water molecules and CO2. The problem with this is that CO2 is classified as a hazardous gas and poisonous when inhaled in concentrated levels. An alternative is liquid nitrogen and hot water. Nitrogen is not poisonous, but may be hazardous in higher concentrations due to the displacement of air. And finally ‘water fog’ produced by pushing water under pressure through tiny holes; creating a mist which is very fine, hangs low, presents no breathing hazard, but leaves a wet residue (Doyle 2003).

Science writer, Sabin Russell talks about the toxic effects of theatrical fog in his article “Voices Fading in the Fog” and questions if it is in fact, safe to breathe (Russell 2001). He comments on his blog, “In this age of environmentalism and health consciousness, it’s worth noting that the entertainment industry is the only one I know of that still deliberately and unapologetically pollutes the air” (Russell 2006).

He describes smoke and fog effects as a “potentially toxic brew of mist.” He cites recent studies, which have linked exposure to glycol and mineral oil mists to acute

45 For details see: http://www.imdb.com/reviews/13/1313.html

and chronic adverse effects on respiratory health (Russell 2006). According to Russell, the most widely used theatrical foggers spray a warm chemical mist containing either mineral oil or a mixture of glycol alcohols like those found in antifreeze. He claims that chemical manufacturers have disavowed the use of glycols in fog machines for stage effects, citing the potential for throat irritation and respiratory problems. "The stuff is nasty," said Harry Herman, of Consultech Engineering, a firm based in Washington, D.C, that produced a critique of theatrical fog for Actors' Equity Association in 1995. Herman concluded that glycol fogs irritated and dried out the throat and "should not be used in theatrical productions" (Russell 2001).

A number of studies have been published on the potential health effects presented by exposure to theatrical fogs and artificial mists. In June 2000, at the request of Actor’s Equity Association (AEA) and the League of American Theatres and Producers (LATP), investigators from the Mount Sinai School of Medicine and ENVIRON Corporation conducted a study to determine whether the use of smoke, haze and pyrotechnics special effects in theatrical musical productions has a deleterious impact on the actor’s health (Jacqueline M Moline et al. 2000). In 2005 a study published in the American Journal of Industrial Medicine, conducted by the School of Environment and Health at the University of British Columbia, looked at adverse respiratory effects on crew members, exposed to smoke effects on a regular basis. (Sunil Varughese et al. 2005) The studies were on the whole, inconclusive. While some studies determined that cumulative exposure to mineral oil and glycol-based fogs were associated with acute and chronic adverse effects on respiratory health: others believed that there was insufficient evidence to substantiate this claim.

There is a whole litany of atmospheric or weather effects that can be created to simulate wind, rain, fog and snow. Darcey Crownshaw, director of UK special effects company, Snow Business, one of the leading suppliers of movie snow, says that real snow is unpleasantly cold and wet. It is also one of the hardest of all natural substances to fake ('How Fog Machines Work' 2011). Filmmakers have tried an astounding variety of substitutes over the years. In the 1930s, one popular recipe was a mixture of shavings of a soft, white mineral called gypsum and bleached cornflakes.

(Rickett 2006) These days snow blanketing the ground might be made of paper or wood pulp, and falling snow from ash or foam (Lutz 2009).

Snow Business, whose headquarters are located in a 17th-century water mill in the English countryside, makes more than 170 types of snow. Depending upon the special effect that a movie director wants, the area that must be covered, the length of the shoot, and the budget: snow can be made with different types of materials, including paper, rice or potato starch, plastics, foam, and Epsom salts (magnesium sulphate). In all these cases, the final product must look like snow and if necessary, must drift, clump, and melt like snow (Lutz 2009). While some of these materials are organic and will therefore breakdown naturally: others such as chemicals, plastics and foams are not environmentally healthy.

Crownshaw believes that movie snow, particularly products used on location, must be environmentally friendly. Many of the snows produced by Snow Business are made of recycled materials, and the company is careful to use “self-clearing products” in sensitive outdoor locations, such as a cellulose powder that can be hosed down easily or foam that evaporates within a few hours. Crownshaw’s signature product is paper snow. It sounds simple, but actually it’s quite a complex procedure. When the paper is cut with a straight edge like confetti, it blows around like dead leaves. However, if the paper has torn edges, it tumbles like snow flakes and clumps together and drifts like real snow (Lutz 2009).

Snow Business’s environmental policy outlines their commitment to using eco-friendly products and machinery. They are experts at producing winter effects on sensitive sites, and have developed an eco-friendly ground cover that biodegrades into a fertilizer. They also work as consultants for organisations such as English Heritage, advising them on safe techniques and location protection systems for their historic landmark buildings. When Snow Business was asked to work on an area that was especially sensitive (with rare plants and animals) they needed to provide realistic snow cover that wouldn’t harm the environment. With nothing existing fitting the criteria, the effects development team developed a wood pulp-based snow that was not only PH neutral but would breakdown into an organic fertilizer. Whether they use

short life organic artificial snow products that simply disappear when it rains, or more durable fake snow products laid over the top of Snow Membrane, they guarantee to leave any location exactly as it was found.

Good preparation is the key, Snow Membrane, a tough material that allows water and sunlight to pass through uninterrupted, can be laid to cover areas completely before any of the more durable snows are laid. The membrane protects the location from much more than the snow because it forms a protective barrier under traffic. Once filming is completed the membrane is simply removed with the artificial snow on top to reveal the clean location underneath.

Preparation of the site and clearing up afterwards are a hugely important part of the snow making process. English Heritage, whose estates include ancient buildings and palaces, consider Snow Business to be the leading authority on the safe, effective use of winter effects when filming at their estates. Snow Business also advises the Environment Agency about winter effects materials for use on land adjacent to water and upon SSSI’s (Sites of Special Scientific Interest). The company has successfully dressed and cleared thousands of locations with artificial snow over the last twenty- five years.46

Another form of visual effects used extensively in the events industry is 3D mapping and projection. A performance projection of beautiful light art onto the iconic Sydney Opera House, for the Vivid Sydney festival in 2009, created an interactive façade on the sails of this architectural canvas. Bespoke projection lenses (designed for the Beijing Olympic Ceremonies) improve magnification by 40% over standard optics, improving enormously energy efficiency and illumination results. Exact and clever design of the pixel graphics ensures minimum light waste off the Sail’s surface and improved footprint coverage, saving energy through minimised equipment ('Smart Light Sydney' 2009).

46 For details see: http://www.snowbusiness.com/home.aspx

It is often pointed out to me, that events in themselves are not at all sustainable because a lot of resources go into their creation. This is certainly true, and nowhere is it more apparent than in the field of special effects. The materials and energy that go into creating atmospheric effects have traditionally been harmful to the environment. From my research it appears that while many special effects companies are still employing unsustainable practices, others are endeavouring to develop systems that do not damage the environment and are mindful not to leave behind a dirty footprint.

5.3 SUSTAINABLE MATERIALS

The conventional process for the production and use of materials has been to extract natural resources such as fossil fuel or minerals, refine them, modify them further through manufacturing, and then distribute them as products. At the end of their useful lives, the products are discarded, usually to a landfill or an incinerator. Based on these current practices, society faces a number of problems, including the dispersion of toxic waste and other contaminants, depletion of non-renewable resources, destruction of biodiversity, and the depletion and contamination of aquifers and drinking water sources. Moving toward a sustainable materials management system first requires the recognition that these current practices are unsustainable. The next step is to develop and implement a model of sustainability (Heine 2007).

Two strategies have been identified, which support a sustainable materials economy. One involves developing ways to use less material to provide the same service, known as dematerialization. A second is the detoxification of materials used in products and industrial processes (Heine 2007).

Dematerialization means reducing the amount of material in a product without decreasing the quality of its function. In real terms it involves reducing the flow of materials into and through the system. This includes a reduction in the mining of industrial metals, developing organic chemicals from biomass wastes rather than fossil fuels, and promoting recycling and secondary materials industries to keep materials in a technical loop. Designing products for repair, upgrade, or recycling, as well as substituting services for products (for example, leasing computers rather than selling new ones) support the need for fewer resources and help keep materials

within the industrial/economic system (Heine 2007). However, this system is only effective if the materials used can serve as biological or “technical nutrients.” (McDonough & Braungart 2002, p.109). That is, their reintegration into natural or industrial/economic systems is beneficial or at least benign.

Detoxification on the other hand, means substituting benign alternatives for environmentally toxic ones. This involves the phasing out of bio-accumulative and toxic pollutants and designing new materials that are compatible with both human health and the health of the planet (Heine 2007).

This section examines how these principles can be applied to event design and public art installation. In doing so, a number of questions arise. What do we mean by recycle, reuse and recreate? And how does upcycling differ from recycling? Alternative materials, which offer healthier solutions to ensure the wellbeing of our planet, both in their production and disposal are analyzed. The work of artists and designers who are actively seeking more sustainable alternatives will also be discussed.

MATERIALS – RECYCLED

According to the Encyclopaedia Britannica, the transitive verb, recycle is a relatively modern word, becoming part of our lexicon in 1929. Prior to that the word reuse was more commonly employed (since 1843). To recycle or reuse means to extract, recondition and adapt to a new use or function. It involves the processing of used materials into new products to prevent waste of potentially useful resources.

Recycling is a concept, which McDonough and Braungart in their book “Cradle to Cradle,” encourage us to question. They claim the efficacy of using recycled materials when creating new products can be misguided, despite good intentions. Just because a material is recycled does not automatically make it ecologically benign, especially if it was not designed specifically for recycling. Not only can materials be inappropriate for use in their next manifestation, the quality of the material is often compromised and weakened during the process of this transformation. For example when the steel from a car is melted down with other car parts, it is a composite of number of materials, including paints and plastics. These additional materials lower the steel’s

quality, so more high-quality steel is added to make the hybrid form strong enough for its next use. Meanwhile the individual components, which had value in their unmixed state, are lost (McDonough & Braungart 2002).

Recycling is encouraged and seen as being good for the environment, reducing the amount of material accumulating in landfill. However in many cases these waste products, and any toxins and contaminants they may contain, are simply being transferred from one place to another. Even materials, which are considered biodegradable, like paper packaging, can release harmful toxins and chemicals into the environment when composted. In fact, paper is a product, which is not designed for recycling. It requires extensive bleaching and other chemical processes to make it blank again for reuse. The resultant product is now not only a mixture of chemicals, pulp and in some cases toxic inks, but is now not appropriate for handling and use. The papers are less smooth in their new form, allowing an even higher proportion of particles to abrade into the air, where they can be inhaled. Some people have developed allergies to newspapers, which are often made from recycled paper (McDonough Braungart, M. 2002).

Artist Allan Giddy talks about using recycled materials in the creation of his artworks. “Mostly the green aspect of my work comes from the technological side. I know much less about green materials. Having said that, I wouldn’t go out and get something that was detrimental to the environment. I would always be a little careful. I’d much prefer to use recycled materials. It used to be a financial necessity. Because I was poor, everything I used was recycled. But these days I have to work much faster, and it can be said that the amount of driving and transportation required to get the recycled materials, actually wastes more time and energy” (Giddy 2010).

McDonough and Braungart’s assertion that in reality, recycling is often just delaying an inevitable move to landfill is valid. And certainly Giddy’s point, that if sourcing recycled materials involves long distance transportation, then surely this defeats the premise of sustainable practice. Keeping this in mind, I believe that if recycled materials can be sourced locally, and are appropriate for reuse, then this is preferable to depleting natural resources, by insisting on using new ones.

RECYCLE REUSE RECREATE

Steve Howarth, creative director of the performance-based company Erth47, has a highly imaginative approach to recycling. He stresses the importance of re-imagining objects during the process of conceptualising a new performance piece. So a simple bottle top becomes an eye of a monster or a rattle. “As long as you open your mind to these possibilities, then suddenly everything has a multitude of uses, right down to a rusty old nail,” says Howarth (Howarth 2010).

Over time, this trio of art activists (Erth), who formed an alliance in the late 80s, went from trying to change the world through the medium of street theatre, to over time employing a wide range of sustainable practice. Their recent project “Metal Tiger” is a perfect case study illustrating the concept of Recycle, Reuse, Recreate. In 2010, the City of Sydney commissioned Erth to design and construct a metal tiger, to celebrate the Chinese New Year of the Tiger. The City of Sydney was eager to demonstrate their commitment to being green, so the directive was to not only create something new, using recycled materials, but also eventually to break down the old model to recycle, reuse and recreate something new the following year.

The body of the tiger is an armature of aluminium offcuts from other projects, it’s head is crafted from vacuum cleaner parts, a child’s plastic spade from an Op Shop, an old broken cd player, and a shin guard from Tempe tip. Much of the body texture was sourced at Reverse Garbage48 and even the tiger’s mane is made up from the lids of takeaway containers.

The tiger stands 3 metres high and is 6 metres long and is secured to a platform, itself a recycled dolly49 from another show. Even its method of locomotion is ‘green.’ Not only does it rely totally on people-power for its movement and articulation, but

47 Erth is an acronym for Environmentally Recycled Theatre. It is a performance-based company formed in the early 1990s.

48 Reverse Garbage is a worker-run co-operative that collects unwanted discards from industry and businesses

49 A camera dolly is a specialised piece of film equipment designed to create smooth camera movements. The camera is mounted to the dolly and the camera operator and camera assistant usually ride on it to operate the camera.

also an old fulcrum was pulled off another project and installed into the new model. Seventy percent of the entire structure was made from objects, parts and materials, which had had a previous life, including the LED lighting. The tiger was lit using 12 volt LED lighting and 9 volt electro luminescent wire50.

What they created was a giant puppet that provided enough fluidity and points of articulation, that when it moved, was quite graceful. They are now in the process of taking this structure, stripping it down and re-imagining it’s next form, which will become, for the next New Year celebration, a rabbit (Howarth 2010).

Kyriakou says, “On a project I always try and reuse as many components as possible from an existing fitout. Light fittings can always be updated or replaced, or reused for a different project. As an artist we often recycle and rework our ideas and refine them” (Kyriakou 2009).

Gianluigi Ruju (Puzzle4Peace) works with partner companies; recycling and transforming their products into puzzle pieces. One such company produces rubber tiles from recycled car tyres; its new manifestation is demonstrated by creating a floor of puzzle-shaped tiles. Another company provides recycled polyurethane for reuse in creating 3-dimensional puzzle pieces. In turn these pieces can be formed to create an environment or part of an event, which not only helps market the partner company’s product, but also raises community awareness about sustainable practice.

Warren Langley’s public art installation “Aspire” is made from high-density polyethylene, and while this material is 100 percent recyclable, when it comes to its disposal, it is neither biodegradable nor adding nutrients to the soil. This perfectly illustrates how complex the issue of creating sustainably can be and how different aspects of the cradle-to-cradle cycle need to be thoroughly examined.

Over time, I have tried to integrate sustainable systems into my own work practice and have actively encouraged my clients to follow. One client brief included adding the cost of recycling my installation into the production budget. The construction company, not familiar with this practice, added a hefty labour cost to their quote. The

50 EL wire is a copper wire in a sheath of plastic, which send s out light in all directions. It runs off 9 volts and is very flexible.

client remained steadfast, and was prepared to pay the additional cost incurred. What eventuated was a much more appropriate solution. The venue (Acer Arena), requested to keep the structure for permanent reuse, a solution, which was both environmentally as well as economically sustainable.

The growing awareness of waste management has produced many innovative ways of recycling waste into new products and materials. Much of our waste is packaging related. After use it is thrown into our trashcans and transported to expensive landfill sites or incinerators.

MATERIALS - UPCYCLED

Upcycling is a term coined by William McDonough and Michael Braungart in their 2002 book, “Cradle to Cradle: Remaking the Way We Make Things,” to mean the process of converting waste materials or useless products into new materials or products of better quality or of a higher environmental value. They state that the goal of upcycling is to prevent wasting potentially useful materials by making use of existing ones. This reduces the consumption of new raw materials when creating new products. Reducing the use of new raw materials can result in a reduction of energy usage, air pollution, water pollution and even greenhouse gas emissions (McDonough & Braungart 2002).

So what is the difference between recycling and upcycling? Most recycling involves converting or extracting useful materials from a product and creating a different product or material, which can result in the downgrading of the original resource. Whereas upcycling is a process that can be repeated in perpetuity: returning materials back to a pliable, usable form without degradation to their latent value. When plastic bottles are recycled, for example, usually they cannot be turned back into containers suitable for food items, due to the degrading of the plastic. Instead, they are often transformed into carpets, toys, or winter fleeces: things that will eventually also become trash. Recycling has simply prolonged the inevitable journey to landfill. An example of an upcycling model is the treatment of drink cans. These aluminum containers can be melted down and made into brand new cans; a process, which saves over 90% of the energy, required to produce new ones. This cycle can

continue in perpetuity, reducing energy consumption and effectively removing certain materials from the waste stream (Caine 2010).

It is important to note that recycling is not without merit. It is an important first step in reaching a more comprehensive and sustainable solution of waste management that can eventually limit the amount of new, virgin materials that need to be produced or mined from the earth.

Eluna, the beautiful product developed by artist, Martin Goodrich (described in chapter 4), using recycled glass, is a perfect example of upcycling. The creation of Eluna, would satisfy even the most stringent specifications outlined by McDonough and Braungart in their book, “Cradle to Cradle.” Goodrich and his team transform glass waste into a new product, which has similar qualities to glass, but in this second manifestation takes on the beauty and appearance of lapis lazuli or jade.

One of Goodrich’s current projects illustrates the efficacy of upcycling. A building in London, constructed in the 1970s is to be pulled down and replaced with a more modern structure. The owners approached Goodrich to reuse the existing glass (including the toughened glass) from the old building to recreate a glass feature wall. The existing glass wall was smashed into tiny pieces and sent to GBU. Goodrich and his team combined the ordinary glass with the toughened version to reform another product, which will eventually replace the original wall in the new building. Eluna is also manufactured through a process based on sustainability with minimal production waste. Because they use re-usable moulds to make the glass bricks, only about one percent of waste occurs during manufacture (Goodrich 2011).

Puzzle4Peace, both public art project and event design, demonstrates a different type of upcycling through its constant transmogrification. Aluminium is reused to form furniture, polyurethane to create sculptural pieces, art walls or internally lit stages. One of their sponsors produces durable flooring made from recycled car tyres, which are then upcycled to create rubber floor tiles. These are then cut to create a floor of multi-coloured puzzle pieces. The materials in this project are constantly being reused, changing from one form to the next. At the same time demonstrating to large audiences around the world, the value and the beauty of this unique form of sustainable practice.

MATERIALS - BIODEGRADABLE

The busy workshop of the performance-based company, Erth is filled with creatures in all stages of fabrication. There are monsters hanging from the ceiling, while dinosaurs compete for space on the floor. The model makers employ best sustainable practice wherever possible and this is reflected in the glues, paints and materials they use. A lot of their work involves gluing things together, and traditionally they used solvent-based glues, which were the best on the market, at that time. Now they almost exclusively work with a water-based construction adhesive called Instabond. Creative director, Steve Howarth says, it can’t be registered as a poison because it’s almost completely inert. “This upholstery glue does the job perfectly and has the added benefit of not giving off any toxic fumes, which in the past caused problems such as headaches or dermatitis” says Howarth (Howarth 2010).

Our work practices were very different back in 2000, when the team from Erth and I were working together on the Opening Ceremony of the Sydney Olympic Games. Because the materials they used were so toxic, we had to seal them off into airtight paint and gluing booths, while they wore heavy-duty gloves and industrial masks to avoid the adverse effects of fumes.

Today, these same model makers use biodegradable paints and construction materials. There is no need for them to use oil or solvent based paints any more, because they can achieve the effects they require using the water-based alternatives. One of the main construction materials they use is foam. They no longer use the vinyl-based foams, but alcohol-based ones, which break down into carbon dioxide and are absorbed into the air.

There is a growing trend amongst major plastics producers to address environmental issues with regard to the materials they produce. Of major concern are the toxic waste these plastics create and the longevity of their life cycle. One of the largest sectors for new development is the area of degradable plastics (through solubility, bio-degradation or photo-degradation) and plastics from renewable sources (Lefteri 2006).

Biodegradable plastics made with plant-based materials have been available for many years. Their high cost, however, has meant they have never replaced traditional non-degradable plastics in the mass market. Plastic packaging provides excellent protection for the product, it is cheap to manufacture and seems to last forever. Lasting forever, however, is proving to be a major environmental problem. Another problem is that traditional plastics are manufactured from non-renewable resources – oil, coal and natural gas (Salt 2002).

Biochemical researchers and engineers have long been seeking to develop biodegradable plastics that are made from renewable resources, such as plants. The term biodegradable means that a substance is able to be broken down into simpler substances by the activities of living organisms, and therefore is unlikely to persist in the environment.

The reason traditional plastics are not biodegradable is because their long polymer molecules are too large and too tightly bonded together to be broken apart and assimilated by decomposer organisms. However, plastics based on natural plant polymers derived from wheat or cornstarch have molecules that are readily attacked and broken down by microbes, and these bioplastics are called polyactide (PLA) (Salt 2002). This new type of plastic requires less than a cob of corn to make a chocolate box tray, and importantly it dissolves in water. It has the biodegradability rate of household food scraps. It can be put into the garden composting heap or simply thrown in the trashcan. It will disappear forever (Lefteri 2006). However, because PLA is significantly more expensive than conventional plastics it has failed to win widespread consumer acceptance (Salt 2002).

Another way of making biodegradable polymers involves getting bacteria to produce granules of a plastic called polyhydroxyalkanoate (PHA) inside their cells. Bacteria are simply grown in culture, and the plastic is then harvested. Unfortunately, as with PLA, PHA is significantly more expensive to produce and, as yet, it is not having any success in replacing the widespread use of traditional petrochemical plastics. Biodegradable plastic products currently on the market are from 2 to 10 times more expensive than traditional plastics. But environmentalists argue that the cheaper price of traditional plastics does not reflect their true cost when their full impact is considered. For example, when we buy a plastic bag we don’t pay for its collection 87

and waste disposal after we use it. If we added up these sorts of associated costs, traditional plastics would cost more and biodegradable plastics might be more competitive (Salt 2002).

While researching the topic of bioplastics, an interesting discussion appeared on the professional-networking site Linkedin, (Event Sustainability Practitioners) between four people working in the events industry. The topic of discussion was “The future of bioplastics and their role in events,” introduced by a freelance production manager from the UK, Emily Wilson (Linkedin 2011a).51

One of the contributors, Scott McKye, runs a company, which makes custom printed products for the events industry. His website reads, “These environmentally friendly products are all either compostable, anaerobically biodegradable polyvinyl chloride, oxobiodegradable polyethylene, or corn-based polyactic acid. An ideal solution for tradeshows and events wanting to go green.”52 This caused some discussion and dispute from events practitioners internationally.

In response, Leslie Lukacs, founder of L2 Environmental, a consulting service, which specialises in the design and implementation of comprehensive sustainability programs for agencies, venues and events throughout the USA, questions the merits of PLA’s.53 “PLA's are made with synthetic binding materials so they compromise the feedstock commercial composters use to make organic compost to sell to the organic farmer,” says Lukacs. She claims, that commercial composters are routinely reporting that PLA's don't degrade at the rate of composition that is required. Added to this, the staff can’t distinguish the difference between the different plastics, which means more time is required to sort one from another. PLA exudes methane when it decomposes: a very potent greenhouse gas. It takes a huge amount of diesel to grow, fertilize, ship, and process. So she questions the value in using a completely new, disposable

51 For details of discussion: http://www.linkedin.com/groups?gid=2800822&trk=myg_ugrp_ovr

52 For details see: [email protected]

53 For details see: http://l2environmental.com/partners/leslie-lukacs 88

product where the infrastructure to collect, separate, recycle, and/or compost has challenges (LinkedIn 2011b).54

Christopher Sheldon in the UK, a consultant for The Sustainable Events Group, a company, which specialises in sustainable event management systems, raises another issue.55 An important consideration from a European perspective is the potential for PLA to be sourced from genetically modified (GM) crops. “Even if the loop is a closed one at an event (which is arguable), introducing another material into the resource/waste stream means a detailed understanding and close management of every step in the segregation/removal/compost or recycle process” (LinkedIn 2011b).

Lukacs agrees, “It doesn't seem right to use chemicals, fertilizers, and genetically modified crops to produce a green product. Our goal as environmental leaders is to preserve natural resources and systems; energy, water, materials management and soils.” She concedes that a few food producers are putting pressure on the bioplastics industry to produce more GM-free products and that there are companies in the US that sell these at a premium price (LinkedIn 2011b).

These examples show how innovative science and technology can support sustainability through the development of sustainable materials. However, witnessed by this discussion, these developments give rise to many questions. Technology is not a panacea for sustainability, but it can provide innovative solutions when the challenges are defined by social choice to promote human and ecological wellbeing.

RENEWABLE RESOURCES

The principal building material, used by designers for film, television and theatre sets, custom built environments and exhibition stands, is medium-density fibreboard

54 For details of discussion: http://www.linkedin.com/groups?gid=2800822&trk=myg_ugrp_ovr

55 For details see: http://www.thesustainableeventsgroup.com/

(MDF)56. While made from recycled wood waste, these composite wood products use formaldehyde-based glues to bind together the wood fibres. Although MDF is generally recognized as being the highest formaldehyde-emitting composite wood product: formaldehyde is also found in particleboard and plywood panelling. When these products are cut or burned, they release very toxic gases (Turner 2005).

The atmosphere created by machining or sanding MDF board contains a mixture of softwood dust and hardwood dust (if it is present). In addition, there will also be free formaldehyde, dust particles, onto which formaldehyde is adsorbed and potentially, the resin binder itself and its derivatives.57

The World Health Organisation's International Agency for Research on Cancer (IARC), of which Australia is a member, determined that formaldehyde is a human carcinogen in June 2004. “Unless we want formaldehyde to become the next asbestos, it's time to phase out formaldehyde glues and composite wood products such as MDF that contain them," said Executive Director of the Green Building Council of Australia, Maria Atkinson. "It is vital that as an industry we increase the demand for low emission products and support the transition of the timber industry to change current practices so that non toxic products are readily available on the Australian market," said Ms Atkinson (Turner 2005).

HSE,58 a British independent watchdog for work-related health, safety and illness, state that in the Britain and Europe, formaldehyde is classified as a carcinogen. Under current legislation softwood dust, hardwood dust and formaldehyde are considered to be hazardous to health. Both softwood and hardwood dusts are known to be respiratory sensitisers and may cause asthma and other respiratory problems. Hardwood dust can also cause a rare form of nasal cancer. In Britain and Europe, only particleboard with very low formaldehyde emissions and formaldehyde free

56MDF is an engineered wood product formed by bonding together wood fibres with a synthetic resin adhesive, and forming panels by applying high temperature and pressure.

57 For details see: http://www.hse.gov.uk/woodworking/faq-mdf.htm

58 Health and Safety Executive is a British independent regulator for work place safety.

boards are being produced. HSE is not aware of any countries in the world where MDF is banned.59

There are alternatives on the market to these formaldehyde emission wood products. Ecospecifier.org, an Australian database of innovative and environmentally preferable building materials, lists suppliers and outlets for a number of ultra-low emitting products made in Australia. "Increasingly designers using Ecospecifier60 are seeking non-formaldehyde based alternative products, but they get frustrated that suppliers are not making these products readily available," - said Ecospecifier's Andrew Walker-Morison (Turner 2005).

According to Walker-Morison, forest management practices, particularly with regard to protection of biodiversity, remains the most significant sustainability issue for wood products. Many wood products today are composites or use synthetic chemicals in their manufacture or fixing which have their own environmental loads. The sustainability of forest management in many areas of Australia and overseas continues to be the subject of vigorous scientific and community debate. Many imported tropical timbers are sourced from uncontrolled illegal logging in Asia, which is almost impossible to track. In Australia, major conservation groups are concerned that the current systems are not adequate and that forests are being significantly degraded through logging practices (Walker-Morison 2008).

It is important for designers working in Australia to be aware of suppliers who are complying with the specifications, outlined by the Australian Forestry Standard (AFS) and the Forest Stewardship Council (FSC). That means the timber products they provide do not contain toxic chemicals like formaldehyde, that they are locally sourced, wherever possible and come from sustainably managed forests and plantations so as not to interfere with biodiversity.

59 http://www.hse.gov.uk/woodworking/faq-mdf.htm

60 Ecospecifier is an online database and educational knowledgebase of eco and health preferable products, materials and technologies for the built environment construction sector, specifically targeted to provide information on how to design and deliver buildings, interiors and surrounds using environmentally preferable products (http://www2.ecospecifier.org)

MDF ALTERNATIVES

In many cases real timbers can be substituted for other products when designing events or public art installations. A popular alternative is X-Board, an engineered board manufactured from recycled cardboard and sugar cane waste, that is up to seven times lighter than MDF and is free of toxic resin binders which allows the board to be disposed of as industrial waste paper, post its useful life, rather than ending up as toxic landfill. Suppliers of X-Board claim their aim is to reduce global reliance on non-renewable, petrochemical-based polymer sheeting and formaldehyde-based MDF and particleboard. It is available in various grades to suit semi-permanent or permanent structures, and its surface can be printed, painted, covered in fabric, timber veneer, high-pressure laminates and a range of other finishes ('Xanita' 2011).

For the Decoration and Design Expo in Sydney, Environa Studio, a leading Sydney- based environmentally sustainable architecture practice, used 16mm X-Board to construct a 15 metre square micro-maisonette prototype. It was later repulped back into paper for re-use, through normal paper-recycling channels. The two challenges facing residential design are sustainability and affordability; using X-Board to construct architectural prototypes is efficient and sustainable. MDF and particleboard would have gone to landfill. The prototype was made to test ideas and can be folded away or rearranged after use, depending on the function required ('Xanita' 2011).

As a designer, my concern would be, whether this product would be sufficiently weight bearing, have the rigidity, durability and longevity, required for a large film set or environment. My experience with this product is very limited, so I am unable to confirm, at this stage, whether my concerns are founded.

According to an online article, the company Xanita produces and distributes various gauge of X-board. For permanent applications, various thickness “skins” of e-zero MDF, particleboard or plywood are press-applied to the core. This board is called ‘X- Board Plus’ and could replace many applications where heavyweight, formaldehyde- based solid MDF or particleboard is used. ‘X-board Plus’ offer a composite panel with extremely high strength-to-weight ratio and flexural rigidity. In fact ‘X-Board Plus’ is approximately 75% lighter than solid MDF or particleboard and it can be machined

and direct edge-banded with no extra investment in machinery, making design specification as simple as specifying MDF (Xanita 2008).

Strawboard or eco wheat board is another alternative material to medium density fibreboard (MDF). Strawboard is produced from compressed straw rather than wood fibres compressed with chemical resins. The resources needed to produce this board are natural, renewable and sustainable plant fibre, which is harvested annually. According to the article, these products are emission free in manufacture and their binder emits much lower levels of VOCs61 than other synthetic binders. Strawboard has several other advantages over its wood competitors. It usually sells for the same price as MDF, is 10% lighter, has superior nail and screw holding capacity and has greater moisture resistance. It also machines smoothly, offering a superior laminating surface and virtually eliminates off-gassing emissions, harmful to human health (Moss 2011).

A similar product, Envirowall is made from either waste agricultural straw or waste paper (recycled newspapers and magazines) and contains no additives or formaldehyde. The company that produces this product follows the principles of the cradle-to-cradle philosophy: from sourcing their raw materials, through to manufacture, packaging, delivery and installation. Any waste created is totally recyclable and is simply fed back into the production process. Furthermore, they offer green installation: eliminating waste and the associated cost of disposal. When you no longer need the product or want to update panels or fixtures, you can simply recycle the material once again. This commitment to continual waste management is a central part of their business ('A 'how to' of recycling and sustainability for events' 2011).

There is a range of different eco-products appearing on the market. Their level of environmental sustainability varies. Eco Paperstone for example, is a sustainable composite material, similar in appearance to soapstone, with properties akin to other solid surface materials like stone and granite. It can be made using a number of renewable resources such as recycled paper, bamboo fibres and organic cashew nut

61 volatile organic compounds

shell resins. It has many similar qualities to the other products described, but has the added advantage of containing organic binders whereby no toxic VOCs are released.62

POLYSTYRENE ALTERNATIVES

One of the most commonly used materials in prop and model making is expanded polystyrene (EPS). A sustainable alternative to this product is a low- density expanded polylactic acid (E-PLA), which can be manufactured using environmentally friendly blowing agents such as carbon dioxide (Kate Parker et al. 2011). Victorian-based technology company RMAX is partnering with the CSIRO to develop the world’s first fully biodegradable foam beads: an environmentally sustainable alternative to polystyrene. This product has the potential to significantly reduce the amount of polystyrene waste, and eventually enable packaging waste to be turned into composted garden products ('World-first Victorian innovation - biodegradable polystyrene' 2010).

GREEN FLOORING PRODUCTS

Durable natural fibre materials like sisal and seagrass are sustainable alternatives for floor and wall coverings, made from highly renewable resources. Eco bamboo is a very versatile and sustainable product. Eco cork is a good substitute for hardwood and softwood timber, but its sustainability is dependent on where it is imported from, and the type of plantation where it was grown. The cork tree doesn’t have to be cut down; its bark is fully renewable and the resulting product is fully recyclable. An eco alternative to plywood is Kirei board: as yet not available globally. As it is made from the stalks of the sorghum plant, a globally grown grain, it is both a renewable resource and 100% recyclable.63

62 For details see: http://www.holistic-interior-designs.com/eco-paperstone.html

63 For detail see: http://www.holistic-interior-designs.com

ECO PAINTS

Traditional paints and stains contain high levels of chemical compounds, plastics and toxic substances. Eco paints on the other hand, are made from a range of renewable, natural and non-toxic resources, with no chemical additives such as heavy metal pigments, formaldehyde and petrochemicals. The extraction of natural raw materials such as vegetable and protein based paints do not have a negative effect on the surrounding natural environment. The manufacture of eco paints removes the need for high levels of multiple processing stages and any waste that is created is biodegradable.64

New environmentally sustainable materials and products are constantly being developed worldwide. In most cases, a designer can find, when choosing materials and finishes, a more sustainable alternative. It is therefore essential that today’s artists and designers are aware of the range of eco-products available, so they can make informed choices. However, this is only the beginning of a process, which involves convincing others, involved in the project, to comply. Often there is resistance from construction companies and clients, who view these new materials with suspicion. In my experience, very few people want to be ‘trail-blazers.’ The materials I have described mainly appear at trade fair shows and exhibitions, where the intent is to gauge public reaction to new products. To date, they haven’t become mainstream, nor are they the natural choice for artists, designers and fabricators.

5.4 THE GREENER PRACTICE

In the proceeding section, I have examined the two strategies outlined by Heine in his article “Sustainable Materials and Green Chemistry,” which support a sustainable materials economy. The first involves developing ways to use less material to provide the same function, known as dematerialization, while the second, detoxification, entails substituting benign alternatives for environmentally toxic ones (Heine 2007). These principles are illustrated through interviews, case studies and by examining new products and the companies supplying them. What becomes apparent in this

64 For detail see: http://www.holistic-interior-designs.com

study is that the meaning of sustainable practice can vary from one practitioner to the next. Reading the environmental policies of a number of suppliers of eco-friendly products, shows a range, sometimes differing, in their individual focus. This section will review what is meant by ‘best sustainable practice,’ and how that is defined within the context of the events industry.

CREATING SUSTAINABLY

According to UK company Julie’s Bicycle,65 there are a number of steps, which can be taken to help minimize the environmental impact of festivals and events. Many of these principles can also be applied to event design and the creation of public art.

To begin, an entire life cycle analysis from procurement to disposal should be considered. This includes measuring the environmental impact of the event by using a carbon-calculator,66 the use of renewable power and choosing green suppliers, merchandise and contractors that have clear environmental credentials. Practical steps, which can be taken include: working with the production team to help minimize the use of power by identifying energy saving equipment and technologies. Reducing the use of environmentally toxic materials, by using FSC certified timber for all set and staging construction, or other eco-friendly alternatives (see previous section). Preference should be given to organic, fair trade, sustainably grown and harvested and/or local produce and merchandise. The use of non-PVC materials for banners, signage and scrims, and reducing or avoiding props made with polystyrene. It is important to choose fabrics, products and materials that can be re-used, re-purposed or recycled. Wherever possible reduce air freight and use in-house or locally sourced labour and equipment. And finally using contractors who have waste separation, recycling and compost processing facilities to optimise landfill diversion ('Green Your Festival' 2011).

65 Julie's Bicycle is a non-profit company, which actively supports the creative industries to address their environmental impact.

66 A carbon-calculator is a tool to help individuals and organizations track carbon emissions.

Designer and curator, Mary-Anne Kyriakou believes that sustainable practice involves taking into consideration the entire life cycle of a project, when selecting products and materials. As part of that process, she believes it is essential to find out where materials are sourced, and how they will be disposed. “Sustainability is no longer something which is just an add on. Sustainable thinking and living is something, which is essential for our earth to continue” (Kyriakou 2009). She believes it is possible to have growth without having to compromise too much in terms of resources. And in terms of design in particular, she believes if you’re shaping and creating consumer products and environments for people; these environments need to be really well considered. “You need people”, she says, “to work together in a collaborative environment with the suppliers, with the manufacturers, and with the distributors, because these designers influence what these people create, so its important that informed decisions are made and sustainable practices are embedded” (Kyriakou 2009).

Artist, Warren Langley believes best sustainable practice involves a holistic approach to creation. Although he doesn’t believe his practice reflects this, it should include all aspects of studio practice, from the selection of raw materials, to the actual fabrication. Although he’d like to achieve this level of sustainability, he says this would be extremely difficult. Wherever possible, if it is appropriate to the work, he will use recycled materials.

Langley, like artist Allan Giddy, believes that he is an artist employing some ‘green’ practice, rather than being a ‘green’ artist. When choosing materials and technologies he will always consider the green option first, but for both these artists, most important is the selection of the most appropriate resource for the project. When it comes to the actual end point, the selection of lighting, Langley always chooses the ‘green’ option. Because what he wants to achieve is the maximum dramatic effect, using minimum power consumption and the ‘green’ lighting options provide that. “Sustainability with respect to my own practice is more about the end product than how we got there” (Langley 2010).

As an artist and designer myself, I empathize with this point of view. Creating something innovative, with meaning and beauty can be challenging without the restrictions of conforming to strict guidelines. I think it is important that these artists 97

are aware of best sustainable practice, and try wherever possible to incorporate it into their work. It is a question of continual reassessment of work methodology and making changes where necessary.

Allan Giddy incorporates low energy power and lighting systems into his public artworks. He discusses his thoughts about art making and sustainable practice. “Firstly I can’t comment overall on sustainable practice as I don’t consider myself a ‘green’ artist in that sense, I never have. I regard myself as a pragmatist when it comes to my work and the area I focus on is energy” (Giddy 2010).

Giddy’s site-specific artwork depends on power and each site offers a different challenge. In the early 1990s, he would set up on Tamarama Beach or in a forest, and by using an alternative power system; his artwork became completely autonomous. He also avoided leaving an ugly trail of cables and was able to integrate the system into the aesthetic of his work. “Once I removed my systems of production from the grid, I was operating with limited available resources and that just meant I had to be very aware of the balance of each artwork that was taking place” (Giddy 2010).

This early practice, drawn from necessity, prepared Giddy with greater awareness of the validity of such systems. He also believes that the adoption of so-called ‘sustainable’ practice was often born out of a lack of funds, and in his case this was certainly part of the equation.

Giddy has always had an interest in lighting and power. On the question of sustainability and the creative process Giddy is quite clear; he believes that artists are not using sustainable practice as a statement, but rather as underpinning their creative practice. “I think you see an installation and you think it’s a good installation because it works with the site, practically, beautifully and more than anything, the public use of a site” (Giddy 2010).

He questions how sustainable some forms of practice really are and uses his latest project, a workshop with it’s own integrated systems, as an example. The new workshop, which is intended to be completely independent from the electrical grid, is in the process of having its systems trialed. To do that, Giddy says, they are going to be using a lot of resources and it is going to cost a lot of money. He confesses that in 98

itself, the project isn’t sustainable. At this point he questions his own motives. Is it ego that drives him? And how much of that ego is getting in the way of cold hard analysis around the project’s usefulness. On the other hand is it about creating a prototype and sincerely trying to find a way forward, even though this particular prototype is not sustainable? “I find that quite difficult because you are always forced to consider, if what you’re doing is really genuinely a way forward or whether at some point it just gets bloody exciting, you get carried away with it and just want to do it ANYWAY! That’s something I find problematic” (Giddy 2010).

Giddy believes that most artists are naturally sensitive to the environment but the idea that some artists, like him, are ‘green’ is probably a myth. “I think it should emerge quite naturally from what we (as artists) do, because the work will have that imbued deeply within it” (Giddy 2010b). In fact Giddy dislikes the appellations associated with greener practice. He believes them to be faddish and like an epidemic; suddenly everyone makes work about sustainability for the wrong reasons. “The irony of course is that we can’t afford to be faddish about this particular problem” (Giddy 2010b). On the other hand, Giddy believes the difference in this respect, between artists and designers is that designers can very effectively go out and deliver a message, while making their work beautiful.

Steve Howarth from Erth, is also aware of the implications and the faddish nature of being seen to be ‘green.’ He talks about consumer fatigue and greenwashing. He believes that the over use of environmental catchwords and concepts have had the effect of watering down the original intent. These words have now lost their power and meaning, through over use (Howarth 2010).

Howarth questions his own company’s sustainable practice. Although the people at Erth are extremely mindful of their work practices, he feels there is still a long way to go before achieving best sustainable practice. He sees it as an ongoing organic process of constantly reviewing their work methodology. As Giddy and Langley have found with their own projects, it is not always the most sustainable material, which is most appropriate to the project. Howarth points out that these days, they rarely use polystyrene, but recently a job came in that required them to use it. At the time he wondered if it was the best material for the project. Unfortunately they didn’t have the budget or the time, to invest in the research required to come up with an alternative 99

solution. As a compromise, they minimised the amount of material used through careful planning to avoid any waste. “That’s the best we can do right now. But now that we are conscious of the problem, we can work towards a solution for the next project that requires this product” (Howarth 2010).

Creative collaborations are being adopted by many contemporary installation artists, looking outside their field for help in traditionally unrelated areas. Currently, Giddy is collaborating with two other faculties within the University of NSW: the Built Environment and Chemical Engineering. This is because, he explains, what they are developing is potentially a patentable system. He finds these affiliations very rewarding and exciting (Giddy 2010b).

London-based artist, Martin Goodrich, has spent a lifetime developing creative collaborations. Since emerging from art school in the 1960s, he has been against the idea of sole authorship, preferring to develop community arts projects. In the 1990s, he and a group of artists formed the “Free Form Arts Trust,”67 an association, which initiates community arts projects from workshops to festivals, to re-forming public spaces (Goodrich 2011).

Goodrich and his team have a different interpretation of best sustainable practice as described in this section. The “Free Form Arts Trust” is not only initiating projects, which help the environment, but are also sourcing labour and resources locally. Their form of sustainable practice is social as well as environmental. They have worked on events for 15 years, travelling around the countryside, initiating community-based festivals and projects, employing the local people and liaising with local council bodies. Through their work, they have brought communities together working toward a common goal.

In the 1980s they returned to London to work on “The Urban Program.” The idea behind this project was to develop urban areas in Hackney, transforming derelict sites, planting a community garden, landscaping and creating public art installations. Then in the 1990s they formed the “Environmental Improvement Program,” which

67 An offshoot of the Free Form Arts Trust, is the Green Bottle Unit (GBU) which upcycles glass to create the product Eluna.

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involved transforming areas around building sites. When they set up “Free Form Art Works” they started re-thinking the materials they used on projects and the waste they created (Goodrich 2011).

Asked whether he has seen a change in attitude around sustainable practice over time, Giddy believes that greater awareness around this issue has made it a lot easier to raise funding for projects. People from a range of relevant disciplines are eager to find collegial support and affiliations as well as a growing public interest.

“People coming up with these solutions really enjoy seeing their product used in a way that is unorthodox and contemporary. I find that it fits into the 21st century better than it did in the late 20th century, where possibly it was quite novel. Now its pertinent, so the fit is much tighter and the ability to get projects funded from an industry partner is much better” (Giddy 2010).

He points out another contradiction, in the actual making of artworks, especially those involving light. “If we didn’t make artworks, in the case of energy and resource consumption, the earth would be better off. At the end of the day,” he muses, “making art is a folly and we are kidding ourselves if we believe what we are doing is beneficial to the planet. We are producing more stuff. That the world doesn’t need more stuff is a valid argument” (Giddy 2010).

On a positive note, he believes that growing awareness of the environmental impact of our actions will result in artists naturally integrating greener practice into their work. “Art was about welding and steel and immortality, and now it’s about movement, society, decay and renewal” (Giddy 2010).

GREEN SUPPLIERS

An important aspect of any project should include the support of suppliers and contractors who share your commitment to environmentally sustainable practices. A sustainable business is one that operates in an environmentally responsible way. Its products and business processes are such that no negative environmental impact is felt as a result of their existence ('What is a Sustainable Business' 2011). It is therefore crucial to choose suppliers and contractors who have clear environmental

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credentials and gather information on the efficiency and sustainability of their equipment, goods and services ('Green Your Festival' 2011).

That means they source or manufacture their products locally and timber from sustainable (new growth) forests. That they supply products, which are energy- efficient, have a long life span and can be easily repaired or reused. They would include paint suppliers who produce one (or more) non-VOC (volatile organic compounds) variety of paint. Where possible use recycled products and suppliers who use reusable or biodegradable packaging, non-hazardous chemicals and that have a waste recycling facility (Green Screen 2009).

Scenery Salvage is a company based in London, dedicated to the recycling of film and television studio sets. The sets are broken down and sorted into reusable, recyclable and non-recyclable material streams (Green Screen 2009). Reusable items, such as doors, windows and hardware, are photographed, catalogued and put on the company’s website for resale back to the industry at vastly reduced rates. The remaining scenery is then segregated into its constituent materials (timber, metal and plastics) and then processed for recycling though major recycling companies in Europe ('Scenery Salvage' 2011). They work on the basic principle that the extra costs involved in the disposal, is offset by what can be resold from a production. Scenery Salvage offers the screen production industry in the UK, a sustainable outlet for its set materials and unwanted scenery, which would otherwise be disposed of to landfill, a more carbon intensive and costly option (Green Screen 2009). The company has a fleet of 8 heavy-duty trucks and produces its own biodiesel from used cooking oil to fuel them ('Case Study - Scenery Salvage (UK)' 2010).

Two companies well known to the Sydney creative industries are Reverse Garbage and The Bower. Reverse Garbage is a not-for-profit cooperative that collects unwanted discards from industry and businesses, diverting these high quality materials from landfill to make them available at low cost to the community. They have been operating since 1974 and are a self-sustaining, community-based cooperative, committed to minimising resource depletion. They run a large retail warehouse in Marrickville, which is open to the public ('Reverse Garbage' 2011).

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The Bower, a reuse and repair centre, is also dedicated to reducing the amount of waste going to landfill. They are advocates for long life design, recycling, waste reduction and encouraging community awareness about environmentally responsible design and manufacture. These companies have a strong commitment to both environmental and social sustainability. They provide affordable goods to low-income and other disadvantaged groups in the community and generate employment opportunities and skills training. They run creative workshops at schools, festivals and on-site, and host talks for visiting students about sustainability and their facility ('The Bower' 2010).

These companies are included in the supply bibles of designers, like myself, who work in the film, television and events industries. On low budget projects I have sourced materials, textiles and props from Reverse Garbage. Five years ago, due to budgetary constraints, I created a spaceship interior, using nothing but materials found in their facility (Fig 5.15). It won an award for best television promo, beating other more lavish productions.

CMA Corporation is an Australian-based public company operating across three continents. The group’s major activities are the processing and recycling of predominantly secondary ferrous and non-ferrous metal products. CMA provides end- to-end recycling solutions such as resource sector plant decommissioning, industrial demolition, site clearance and remediation of sites to the mining and heavy industrial sectors. CMA helps to significantly reduce the waste of potentially useful materials through resale, reducing the consumption of finite raw materials, energy, and thereby contributing to a better environment through responsible recycling (CMA 2010). In 2010 the Sydney Harbour Foreshore Authority commissioned CMA to design and build a Christmas tree using recycled materials. CMA created the tree from recycled bicycle parts (Fig 5.16), and when it was pulled down, they collected the bicycles and recycled them again ('Tree-cycling in The Rocks' 2010).

There are many online directories, which can help designers and artists source eco- friendly products and materials globally. The Green Directory, Eco Directory, Green Finder, The Saved Planet, Eco Buy and many more Australian online resources can be used for locating genuine green businesses, products and services locally.

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Choosing suppliers who have environmentally healthy practices is an important part of the life cycle analysis of a project. It will help ensure that your suppliers are working with you in your efforts to reduce carbon emissions.

TRANSPORT

Transporting materials, equipment and crew is an integral part of producing, installing and removing artworks for an event, festival or public space. An important step in the life-cycle analysis of a project is consideration of the type of transport required and in what capacity it will be needed.

Airfreight is easily the worst emitter of greenhouse gases, and whenever possible preference should be given to transport by ship, even over rail and road transport. Of course, this is contingent on what part of the world the event is being held. Aviation and shipping rely on fossil fuels and, in the short to medium term there are no viable alternatives. Both are growth sectors, therefore it is inevitable that the greenhouse gas emissions they generate will also increase. Road transport on the other hand, can be powered using renewable sources such as biofuels (Smith 2011). Biofuels, refer to a wide range of plant material used to create fuel; including corn, wheat, sugar cane and sugar beet, as well as soybean oil, palm oil, rapeseed/canola oil and wild flaxseed oil (Morel 2011). An alternative to this are the synthetic fuels such as 104

hydrogen, ammonia and methanol. Low carbon generation of these fuels is technologically feasible, but the high costs associated with this will prevent their widespread uptake until sufficient regulation is in place (Smith 2011).

The events industry has shown a particular interest in biofuels, as a possible solution for reducing the environmental impacts of transport and the use of biodiesel in trucks and buses, is especially favoured in the US. However, there are concerns about the environmental benefits of using these alternate sources of fuel. First generation biofuels (ethanol and biodiesel) compete with food production, causing spikes in food prices. Land clearing for crop cultivation can cause loss of biodiversity and displacement of local communities. Carbon emissions can result from the clearing of carbon-rich forests; loss of carbon through soil erosion; and transport of feedstock before its conversion (Morel 2011).

A reduction in the amount of anthropogenic greenhouse gas emissions can be achieved through more efficient planning. Perhaps the most important step to reducing the impact of transport on the environment is by simply sourcing labour and equipment locally, wherever possible. According to GCS68, UK organization Julie’s Bicycle, has collected data from numerous events and festivals, and identified that 70% of the event’s total carbon emissions is created by audiences travelling to and from an event. GCS believe this is one of the areas that requires most innovation especially where large distances are involved ('A 'how to' of recycling and sustainability for events' 2011). For instance when it comes to aviation travel, the best equation is to fit the greatest number of people into the largest possible aircraft. This means reducing the size of first and business class travel, in favour of the more spatially efficient economy class option (Smith 2011).

Promoting the use of public transport or car sharing to crew, and audiences alike and using incentives to help change engrained habits, is another important step. Using sustainably fuelled vehicles, electric vehicles or hybrids are preferable to the traditional style of fossil fuel powered systems. Reducing the frequency of deliveries and collections through better planning, while encouraging suppliers to pool

68 Green Chief Sustainability (GCS) are a company who specialise in producing tailor-made operational solutions to the environmentally conscious event.

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resources, so that one truck collects all the equipment. And finally where air travel cannot be avoided, pay the extra to offset the carbon emissions produced by travel ('Green Conferencing & Events' 2011).

WASTE

In today's world, materials typically follow a one-way path to landfill or an incinerator, with waste managers intervening here and there to slow down the trip from cradle to grave. But simply managing waste more efficiently is only the first step toward a more effective system in which there is no waste at all.

McDonough and Braungart in their paper, “The Hannover Principles” developed an entirely new approach to design. They believe the concept of waste can be completely eliminated. This means creating a system whereby materials are seen as nutrients that cycle through either a biological or technical metabolism, rather than as a waste management problem. In the biological metabolism, the nutrients that support life on Earth; water, oxygen, nitrogen and carbon dioxide, flow perpetually through biological cycles of growth, decay and rebirth. There are no waste- management problems. Instead, waste equals food. While technical metabolism is designed to mirror natural nutrient cycles; it's a closed-loop system in which valuable, high-tech synthetics and mineral resources circulate in an endless cycle of production, recovery and reuse (McDonough & Braungart 2003).

By specifying safe, healthful ingredients, designers and architects can create and use materials within these cradle-to-cradle cycles. Materials designed as biological nutrients, such as textiles for draperies, wall coverings and upholstery fabrics, can be designed to biodegrade safely and return to the soil after use, providing more positive effects, not fewer negative ones. Materials designed as technical nutrients, such as infinitely recyclable nylon carpet fibre, can provide high-quality, high-tech ingredients for generation after generation of synthetic products. And buildings constructed with these nutritious materials and designed to "fit" within local energy flows, articulate and enhance the connection between people and nature (McDonough & Braungart 2003).

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In their book “Environmental Politics,” Stephen Croall and William Rankin, describe natures cycle as one, which is constantly circulating energy and matter. “Everything goes round and round, nothing is lost. Humans are the only species in natural history to produce things that cannot be reabsorbed. The rest of nature completely converts ‘waste’ into resources” (Croall & Rankin 2000, p.55).

Artists and designers creating installations and environments for public spaces and special events, produce waste during the process of production and installation. In the case of event design, because of its peripatetic nature, it is disassembled at the end of the event and disposed. In many cases, the lack of adequate storage is the reason why materials are sent to landfill at the end of their useful life. Design companies such as Erth and the Green Bottle Unit, who have their own workshops, have formulated strategies to reduce or completely eliminate waste. Their creations, although vastly different, can be perpetually produced, disassembled and reassembled in a different form.

The type of waste created by producers of public art installations and event design can range from timber, metal, polystyrene, plastic, glass and MDF offcuts and include disused batteries, electronics, lighting, mechanical equipment and hardware, as well as paints, solvents and other chemicals. The most effective form of waste management for these practitioners is to use raw materials, which are non-toxic, and will biodegrade into healthy nutrients or can be transformed and recycled continuously. If materials cannot be stored, then the artist or designer can pass them on to a recycling facility, such as Scenery Salvage; described in the previous section. These waste contractors understand the waste separation process, and can divert materials away from landfill.

Possibly the most tangible of environmentally sustainable practices is waste management planning. There are a multitude of online resources offering waste management strategies for the arts such as Julie’s Bicycle, WRAP, the Greater London Authority and the Department of Environment and Conservation NSW. Special events because of their temporary nature generate a high volume of disposable materials. Therefore, it is important to have waste avoidance and recycling objectives incorporated into each stage of the planning process ('How to Make Your Event Wastewise' 2007). 107

WRAP69 is a UK organisation, which helps businesses and individuals to develop sustainable products and waste management plans. Working in partnership with LOCOG (the London Organising Committee for the Olympic Games), WRAP has developed a new free online tool specifically tailored for event organisers so they can create plans for managing and reducing event waste (Event Resource Management Plan Tool 2011). Visual artists, designers and suppliers can also apply many of these same principles to their own practice. In their guidelines, WRAP suggests first identifying the waste streams they will generate (Event Resource Management Plan Tool 2011), from procurement of materials, through production, packaging, transportation, installation, display and disassembly. From this a bespoke action plan can be formulated. The artist or designer will need to consider what will happen to the waste; whether it will be suitable for reuse, recycling or composting, who will collect the waste and where will it be taken (Event Resource Management Plan Tool 2011).

CARBON OFFSETTING

Carbon offsetting is a relatively simple and socially responsible way for businesses to compensate for all or some of the greenhouse gases (GHG) they emit. However it is essential that businesses only offset those emissions that are unavoidable. It is important to first look for opportunities to avoid or reduce greenhouse emissions before considering carbon offsets.

A carbon footprint is a measure of the impact your activity is having on the environment in terms of the amount of GHG produced. There are many online carbon calculators available (see EarthCheck)70 which are consistent with international standards for GHG accounting methodologies.

69 Waste & Resources Action Programme

70 http://pata.calculator.earthcheck.org/

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5.5 SUSTAINABILITY & THE TRIPLE BOTTOM LINE

“Sustainability is a shifting concept that is frequently used in an arbitrary manner. In many cases, 'sustainable' is also used merely as a synonym for 'lasting'”. BADER 2008:1

The main focus of this research has been, to this point, only concerned with environmental or ecological sustainability. However a more complete approach would include social, economic as well as environmental dimensions of sustainable development (Elkington 1997). The Triple Bottom Line was a name given to a reporting system, first articulated in 1981 by author Freer Spreckly in a publication called “Social Audit - A Management Tool for Co-operative Working.” "People, planet and profit" succinctly describes the triple bottom line and the goal of sustainability (Elkington 1997).

In 1992, the first United Nations Conference on Environment and Development (UNCED) was held in Rio de Janeiro. The conference focused on the question of the relationship between environmental and developmental goals. Both the Rio Declaration and Agenda 21 were adopted at this conference. Agenda 21 is an action program for global sustainable development that made the concept of sustainability a formal political principle. It was recognized that global environmental protection was only possible if economic and social aspects were also taken into consideration (Bader 2008).

The EU71 formulated the three pillars of sustainability at its Copenhagen Summit and with the Treaty of Amsterdam in1997. The principle states that sustainability not only comprises the natural heritage we pass on to the next generation but also the economic achievements and social institutions of our society. Sustainable development thus rests on an ecological, an economic and a social pillar. If one of the pillars gives way, the 'sustainability building' will collapse (Bader 2008).

As a result of the growing pressure on the environment and increased scarcity of

71 European Union

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natural resources, economic and social development can only succeed if fundamental ecological systems are secured. For that reason, I have chosen to base my focus on only one aspect of the three pillars of sustainability.

An example of these three principles can be seen in the Haizuka Earthwork Project, initiated by Japanese artist and architect Kenjiro Okazaki in 1993. It is an environmental art activity developed as part of a program for reconstructing the Haizuka Dam Area in the northwestern part of Hiroshima. It was conceived as a way to soften the impact of the planned construction of a dam whose artificial lake would cover some of the town and its surroundings; resulting in its occupants having to be evacuated and relocated.

The plan to build a dam was originally conceived in 1965 and involved the requisitioning of a vast region of agricultural land and several villages. The construction of the dam would drastically change not only the natural environment but also the rich local culture. So in order to protect their environment and way of life, the citizens formed a committee whose intent, was originally to oppose the construction of the dam (Okazaki 2011).72

In 1993 a working group (called the Haizuka Earthworks Projects) was formed, which included local citizens as well as, artists, architects and the Ministry of Construction. The aim of the group was to formulate proposals, which would minimize damage to both the natural environment and local culture, caused by the dam’s construction. An artists’ colony was set up so that artists could live and interact with the community, involving them in ongoing workshops, where they created artworks, while developing their appreciation of the environment.

Okazuki believed that in order to change a community’s perception of an area, it was important to imbue it with cultural significance. So taking local legends as his tool, he managed to change the way people think about their land. This was done in part by preserving symbols of collective memory; iconic fragments of buildings, old gardens, plants, trees, and familiar stones could be moved to the new towns. Oral histories of

72 For details see: http://kenjirookazaki.com/

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myths and stories as well as memories of favorite places were captured on video and audiotapes. Photographs documented both people and landscapes. Rubbings were made from actual buildings. Restoration of past industries like cast iron foundries and forges were explored. The area adjoining the river that will be flooded can be a place of special significance (Raven 1998).

Since 1993, Okazaki has been actively involved with the community, drafting up plans of their proposals to submit to the Ministry of Land, Infrastructure and Transport. These include preservation of natural environments, landscaping, cultural activities and events (Okazaki 2011).

On a much smaller scale, but also working with communities, are Martin Goodrich and The Freeform Arts Trust. Like the Haizuka Earthworks Project, they too bring together communities to work toward a common goal. Working in a different vein, is the Puzzle4Peace project. Their emphasis is about bringing communities together, around the world, and creating awareness about sustainability and peace.

Puzzle4Peace as both public art and event design captures the 3 principles of sustainability. It’s use of recycled and upcycled materials to create the artworks demonstrates environmental sustainability, while the bringing together of communities from different demographics and ethnic backgrounds illustrates the social sustainability of the project. Puzzle4Peace is a non-profit organization. However, many of the puzzle pieces have been created by famous artists from around the world and are, as such, very valuable. In 2015, Gianluigi and his partners, will hold an auction and sell off all the puzzle peaces. The funds will go into an account at the Ethic Bank, specially set up for the distribution of micro-credit to aid small start-up companies, or build a school or small hospital, in third world countries. All the money will be returned to communities who are in need of financial aid, and therefore creating the final pillar of economic sustainability (Ruju 2011).

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5.6 CONCLUSION

As can be seen in the proceeding chapter, what constitutes best sustainable practice poses quite a conundrum. When formulating suitable methodologies, it becomes clear that it is not a question of applying one overarching system or simple panacea. The breadth and complexity of the subject, only raises more questions. One of these is determining the actual cost implications of sustainable practice.

There is a perception that eco-friendly materials, technologies and systems are more time consuming and expensive, than their traditional counterparts. And depending on your viewpoint, this perception is correct. Or is it? The initial research and development of any prototype can be an expensive and time consuming practice, involving resources, labour and finances. However, having developed an operational prototype or system, subsequent production becomes more and more economical. For example, when determining the real cost of new low-energy lighting; the purchasing price versus the cost in terms of energy savings needs to be considered. LED and plasma technologies draw significantly less energy than traditional lighting sources, therefore reducing power costs. Similarly, renewable power systems have a relatively high set up cost; but over time, they become cost effective by reducing power consumption drawn from the electrical grid or by becoming completely self- sufficient.

The labour involved in stripping individual components off an existing installation for re-use can be costly. However, if those components can be recycled and re-used, then the cost of labour can be amortized against what is resold (Green Screen 2009). Another important factor in the final equation is weighing up the financial and environmental cost of transporting and storing those components to be recycled, against the value of re-using them.

It is important to understand the implications of the choices we make and to devise solutions, which are appropriate to the particular application. What is needed is a fuller understanding of the environmental impact of current work practices in the creative industries in order to prioritise actions and work together to create effective solutions (Bottrill 2010).

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6 CONCLUSION

6.1 PRELUDE

When I began this study, my intention was to gather information about the growth of sustainable practice in the visual arts and design. I then focused my research on the development and current practice of environmental sustainability in the creation of event design and public art installation. Part of this process, was identifying the practitioners adopting these methodologies and determining to what extent and why they were doing so. This led to a questioning of how this had changed the culture of art and design, and examining the resulting attitudes of the practitioners, their clients and suppliers.

This is not an exhaustive study, but rather a snapshot of past, present and the possible future direction of environmentally sustainable practice in the visual arts. It was important therefore to interview and study the work of practitioners from a selection of countries, with varying cultural, political, social and economic backgrounds. Research, interviews and case studies were conducted in Australia, Italy, Japan, United Kingdom and the USA. The social media site LinkedIn was a valuable resource for collecting information. The global network “Event Sustainability Practitioners” connected me to the events industry and allowed me to pose questions and illicit responses from a wide variety of practitioners and suppliers internationally. Over the past 2 years I have attended seminars, forums, talks, symposia and conferences (SAMAG73, Australia Council, Events NSW, UTS, UNSW), as well as relevant festivals, events, trade fair shows and exhibitions, in an effort to glean information about current developments in the field of my research. The research also included documenting discussions with experts in the field of new technologies such as lighting, audio/visual and special effects. And with suppliers, investigating the unique characteristics of their products and how best to utilize these qualities in the design and creation of objects and spaces.

73 Sydney Arts Management Advisory Group (SAMAG), is a not-for-profit organization, formed in the 1990s by a number of arts professionals to provide a forum where art practitioners can meet, share information and network.

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This final chapter will revisit the questions initially posed at the beginning of the study and how they have been answered. In addition, it will highlight some of the limitations and implications of the research and finally its relevance to the future health of our planet.

6.2 RESEARCH RESULTS

The premise of this study was an examination of sustainable practice and it’s impact on the creation of public art and event design. The research was based on the overarching question; how can the creation of installations and events for public spaces be developed as environmentally sustainable practice? This question raised several other arguments. What are the similarities and differences in sustainable practice between the two disciplines of art and design? What characteristics distinguish them in relation to other practices that are concerned with environmental sustainability, such as architecture, landscape design, graphic design or community action, especially when the projects appear to be similar? What are the current practices and attitudes within the industry toward adopting sustainable practice? And finally discussing how these artworks can create greater public awareness about best sustainable practice.

To answer these questions I first looked at the meaning of sustainability. John Elkington, in his book “Cannibals with forks: the Triple Bottom Line of 21st Century Business” refers to sustainability as a practice measured in terms of social, economic and environmental performance (Elkington 1997). For the purpose of this study, I decided to focus on only one aspect of the Triple Bottom Line: environmental sustainability. Although some of the artworks discussed, also address the social and economic aspects of sustainability.

The aim of the first section of the thesis was to introduce the subject, describing its historic roots and underpinning it with theoretical analysis, to give a better understanding of the topic. Chapters 2 and 3 examine the meaning of sustainable art and design, put it into a historical framework, exploring its origins, key principles and the role and responsibility of the practitioner. It focuses on the reaction of artists and

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designers, what principles of sustainable production they have adopted and what similarities and differences there are between the two disciplines

The final chapter in this section defines what is meant by public art and event design. It describes the history and culture of the two disciplines, outlining their similarities and differences. This chapter examines the work of a cross section of event designers, installation artists, performance artists and curators whose work seeks to prompt and focus public attention and response to environmental issues, with tactics that radically expand to involve people and communities. While there are many similarities comparing this group to the artists and designers described in chapters 2 and 3, the significant difference between the two, is that by its very nature, public art and event design is neither product-based, nor necessarily permanent.

The second section expands this into a more detailed study of environmentally sustainable materials, technologies and processes relevant to the creation of public art and event design. The final research questions are answered through case studies, interviews, forums, talks, social media and other forms of research.

In answering these questions, the study revealed a number of interesting new paradigms. The culture of art, design, studio practice and exhibiting has changed radically. Many practitioners have moved away from the boundaries of the studio, have broken away from the notion of sole authorship and are cultivating collaborations outside the workshop. With the growth of interest in sustainable practice, the distinction between art and design has become increasingly blurred (Magolin 2005). What makes the field of sustainable practice so fascinating is the emergence of a cross-disciplinary and a collaborative culture. Artists questioning traditional values, methods, materials and process and experimenting with new ones often embrace new technologies developed by scientists and designers. These practitioners are demonstrating best sustainable practice through the innovative use of materials and technologies, engaging communities and building awareness through activism.

Margolin speaks of the importance of working holistically, when visualizing a new sustainable culture (chapter 3). Papanek believes that the relationship between design and ecology is a very close and complex one. As such the designer needs to evaluate all

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aspects of the life cycle of their product and assess its potential harmful impact on the environment (Papanek 1995). McDonough and Braungart articulated this further with their “Cradle-to-Cradle” philosophy, encouraging designers to imitate nature’s highly effective system of nutrient flow and metabolism (McDonough & Braungart 2002).

Artists and designers are becoming increasingly conscious of how their practice can damage or affect the health of the planet. There is a growing awareness amongst these practitioners, their suppliers and manufacturers, of the importance of choosing eco friendly materials and processes over the possibly harmful traditional ones. However, the results of the study suggest while this is the case, the artists interviewed, don’t consider themselves ‘green.’ While they integrate many sustainable elements into their work, they stress that their practice lacks the holistic methodology necessary to be truly “green.” For many artists, the use of recycled materials was often an economic decision, rather than an ethical one. Energy efficient lighting systems are popular because of their size, weight, adaptability and low energy consumption. While alternate power sources, such as solar and wind energy systems allow the work absolute autonomy, freeing them from traditional power sources, generators and ugly cables.

Artists Allan Giddy and Warren Langley’s use of ‘green’ technologies is usually based on more pragmatic considerations such as suitability and cost efficiency. They talk about using the appropriate materials and technologies for each project; prefacing, this can override environmental considerations. However both artists have always shown a high degree of sensitivity to the site in which their work is displayed, long before ecological philosophies became popular.

According to Margolin, the work of artists and designers working outside the traditional framework of a museum, fall into three categories: art that engages with the land or landscape; art that incorporates sustainable practices such as recycling and the use of new low-energy technologies; and art that responds to social issues through the production of objects or ideas (Magolin 2005).

This study has revealed the importance of public art and event design as a powerful educational tool. The creation of public art, whether it is a permanent installation, or produced for a festival or special event, helps enrich the life and culture of a community. Rather than viewing art in an austere museum setting, where the viewer

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is distanced from the work, public art becomes part of the community, interacting with it instead of being passively observed. As such, art and design created for public exhibition are great vehicles for expressing ideas and creating awareness. These artists and designers can be powerful educators, inventing new and visually descriptive ways to illustrate, in a public forum, how the concerns of society can best be achieved (Magolin 2005).

6.3 RESEARCH LIMITATIONS

Research conclusions inevitably can be constrained by certain fundamental limitations. Those can include the time frame in which the study was done, the availability of resources, the countries in which the research was conducted and the particular bias of the author, all must be considered.

The research was conducted over a period of 30 months, from March 2009 to August 2011. The topic, relative to our history, is a modern one and as such, is subject to constant development and change. What artists Langley and Giddy considered energy efficient technologies 5 years ago, are now considered outdated. Not only is technology rapidly changing, but also the attitudes of the community, as public awareness about environmental issues grows. This fast paced movement will render much of my research about lighting, technology and materials quickly obsolete. What will remain steadfast however, is the premise that as the changes occur, public art and event design will keep pace, educating the public at the same time.

Although a great deal has been written about environmental sustainability with regard to design and art practice: limited information is available in its application to event design and public art installation. Therefore research was gathered from a wide range of sources; online articles, websites, interviews, forums, conferences, talks and social media as well as magazines, journals and books. Interviews with contemporary practitioners garnered the most relevant and up-to-date information.

In an effort to choose interview subjects that covered all aspects of sustainable practice, as a guideline, I followed the three categories that Margolin outlines in his 2005 article “Reflections on Art and Sustainability.” The categories include: art that engages with the land or landscape, art that incorporates sustainable practices such

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as recycling and the use of low-energy technologies and art that responds to social issues through the production of object or ideas (Magolin 2005). In doing so, it was important to interview and study the work of practitioners from a selection of countries, with varying cultural, political, social and economic backgrounds. Research, interviews and case studies were conducted in Australia, Italy, Japan, United Kingdom and the USA. It must be noted that the research conducted was limited to First World countries. This was not my intention, but due to opportunities, which presented themselves during the course of my candidature. A fuller study would have included interviews in emerging economies such as India and China, as well as the Third World.

6.4 RESEARCH IMPLICATIONS

The findings reached as a result of the research process bring to light a number of important implications. Firstly that the holistic philosophies expounded by theorists Papanek, Margolin, McDonough, Braungart and others, need to be fully understood, considered and where possible implemented. Through my research into the practices of contemporary art professionals, it became clear, that fully realizing a complete cradle-to cradle methodology was not always possible, for a number of reasons. More importantly, I believe, is that these professionals are aware of the complexity of these systems and consider how in the future they may gradually implement them. This is best articulated in the interview with Steve Howard of Erth, whose company credo supports ecological sustainability and the importance of re-imagining objects during the process of conceptualising a new performance piece. Howarth and his team are well versed with the concept of the cradle-to-cradle philosophy, and where possible adopt many of its principles in the creation of their work. Their creations while peripatetic, can be perpetually produced, dissembled and reassembled in different forms. As he stated in chapter 5.3, a holistic approach is not always possible for financial reasons and time constraints. However, as it is an important part of their overall philosophy, his team is always finding new and innovative ways to improve their systems of production to include best sustainable practice.

An important aspect in creating art and design for festivals and events is the development of effective waste management systems. From my research this varies

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considerably and seems to be dependent on the professional’s workplace. Where they have a large workshop facility (Erth, GBU & Puzzle4Peace), and storage is not a problem, materials can be continually re-used. The problem lies with practitioners, like myself, who have much smaller studios, where there is no storage and whose work is fabricated off-site. In this scenario, the best solution is to send the piece to a recycling facility, such as Reverse Garbage. These waste contractors understand the waste separation process, and can divert materials away from landfill.

There remains a general perception that ‘green’ materials and technologies are far more costly than traditional ones. This can be true in some cases, if one defines cost only in financial terms. Developing any new product, prototype or model will be initialing expensive, as trialing and testing often require many resources (Giddy 5.4). However, like other new technologies, such as home entertainment systems, over time the cost reduces and the product becomes more affordable. On the other hand, the long-term cost in terms of the health of the planet is immeasurable when energy consumption and pollution are added to the equation. Therefore helping to change the attitudes of suppliers, manufactures and clients is an important step in moving forward.

In chapter 2, Papanek espouses a new type of environmental approach to design, one, which is more sustainable, permanent and educational, rather than one which supports passing trends (Papanek 1995). Many of the theorists in chapters 2 and 3 support this proposal, suggesting changes to the culture of the creative industries. Out of this, a new paradigm has emerged. One where an interesting blurring of boundaries between the arts, design and the sciences have occurred and which embraces an innovative culture of cross-disciplinary collaboration.

The importance of the visual arts as a significant communicator should not be underestimated. In light of this, public art and event design are important educational tools, bringing together communities and communicating ideas around social issues. However they cannot work in isolation. It is therefore important to garner the support of government agencies, environmental organizations, associations, societies and municipal authorities as a key strategy to help support these ideas and promote change. Sadly governments still encourage and subsidize the exploitation of natural resources, consequently often making them cheaper than renewable alternatives. 119

Government support through legislation is intrinsic to the future of healthy environmental standards, by promoting change, banning toxic products (see MDF, chapter 5.3), and encouraging businesses to invest in renewable resources.

The World Summit on Sustainable Development was held in Johannesburg in 2002, ten years after the Rio Earth Summit. Its goal was to assess the progress made since Rio in terms of sustainable development. The findings were, however, disillusioning. In most countries of the world, the situation for the environment and population had even deteriorated (Bader 2008).

The concept of sustainability is accepted as a principle today. It is now a question of putting it into concrete practice. A number of companies have introduced environmental or sustainability management systems, publish sustainability reports or are members of the UN Global Compact for environmentally and socially responsible corporate management (Bader 2008). A new international management standard, “International Standard ISO 20121 Event Management System” has just been recently drafted. Twenty-nine participating countries, nine observing countries and six liaison bodies are part of the working group for ISO 20121. The standard encourages the implementation of processes and systems to ensure sustainable development issues and potential impacts are identified ('Event Sustainability Management System ' 2011).

Looking to the future of public art, event design and sustainable practice; the next section looks at the importance of semiotics and innovation as a linguistic tool, bringing communities together, raising public awareness while crossing cultural, political and geographical boundaries.

6.5 SEMIOTICS & INNOVATION: TOWARD A SUSTAINABLE FUTURE

Creators of public art frequently use semiotics as a means to convey their message. This section will examine how creators of public art and event design build public awareness about the environment through their work using symbolism, performance and innovation.

Artist Andy Goldsworthy’s “The Spire” (Fig 7.1), rises up from within the national park, the Presidio, in San Francisco’s Bay area. Constructed in 2008, from the felled timber 120

of dead trees, it is a poetic symbol of the forest’s natural rhythms and historic past. Goldsworthy draws his inspiration from places and creates art from the materials found close at hand, such as twigs, leaves, stones, snow, ice, reeds and thorns. The works made from these natural materials interact with their respective environments. As new young trees grow to maturity, the sculpture will eventually disappear into the forest ('Spire by Andy Goldsworthy' 2011).

Similarly, the installation “Aviary For Humans” (Fig 7.2) sits majestically in a forest clearing in Parco di Monza in northern Italy. This work, created in 2006 by Italian sculptor, Giuliano Mauri from trellised branches collected in the park ('Aviary For Humans' 2011), is a symbol of nature’s transience; the materials he has used disintegrate over time. Mauri owes his fame to his many poetic environmental interventions, called “natural architecture.” His objective is to intervene in the landscape to highlight its natural and spiritual essence (Leti 2009).

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Puzzle4Peace, as both public art and event design is also a symbol, promulgating ideas about sustainability, community and peace. When asked if he saw art and design as a communicator of ideas, crossing linguistic boundaries, founder Gianluigi Ruju claims “The best language is the image!” (Ruju 2011).

Steve Howarth, believes the work produced by Erth, is both educational and entertaining. He confesses that twenty years ago when they started out as a trio of art activists that their approach to delivering a message was very dogmatic. Their first performance of Street Theatre involved making life-sized dolphins from old mattresses found at the local Op Shop and swinging them through the streets wrapped up in fishing nets while proclaiming that people should watch what they eat! (Howarth 2010).

These days, their current style of activism is less avert and more inclusive and engaging. Their work is now based around aspects of the natural world, time and history. Through the creatures they create in their workshop, Erth aims to generate greater awareness about indigenous history and believe the audiences are left with a greater appreciation for the natural world in general. “The live experience, discovering animals, history, art and culture is just as exciting, if not more, than sitting in front of a television, because it engages the audience’s participation” says Howarth. “Much of what we see these days is presented to us on a small screen, the problem with this is, you’re not engaging with life, and not engaging with each other. If we can get people out of that paradigm and into one that not only makes them feel alive, but one where they’re also learning about aspects of the natural world.” In his opinion this holistic approach to delivering a message is far more effective (Howarth 2010).

As co-founder and director of the organization ERIA (Environmental Research Initiative for Art), Allan Giddy is helping to develop, produce and construct a workshop that will draw its energy independently from the main electrical grid. This will be achieved using a variety of alternate low-energy systems such as solar panels, and a wind turbine. “It’s a case really of ERIA creating a platform that is sound at least in terms of the investigation of energy and water production. We are trying to investigate how to best glean energy from our site, right through to the placement of the artworks, and where energy can be drawn from the site to power the works themselves.” Their aim, he says, is to have a workshop that runs off wind and solar power, disconnected 122

from the grid, creating its own water, filtering and disposing of its own waste and able to deliver 3-phase power (for heavy machinery) (Giddy 2010b).

In terms of funding and support, Sydney Olympic Park authorities are providing the main funding, while the ARC (Australian Research Council) is funding the systems and the University of NSW are providing the workshop structure. Also supporting the project is the Broken Hill Community Inc, who is also providing funds for testing the systems, both in Sydney and in the outback. This entire infrastructure has been set up to support artists so they can produce public art sustainably, while at the same time demonstrating their practice to the new generation of artists; the students. “What we’re trying to do is to produce artworks as examples of best practice; public artworks that change and reinvigorate public spaces. We are trying to get away from the delivery of the seminar, where we get up and talk about what we’re doing. We are trying to make this much more practical, so the artworks become forms of communication in themselves” (Giddy 2010).

6.6 CONCLUSION

During the course of this study I began to reflect on my subject in a broader context and question the validity of my research. Environmental sustainability and concern for the health of the planet has become a hot topic. So I began to question: Do the environmental concerns and practice of an elite group of practitioners really matter, in the big picture? Surely compared to mining and heavy industry, the concerns of a small group of art practitioners would have minimal impact on our planet.

On June 16, 2010 I attended a forum at Sydney Town Hall titled “Greening Sydney’s Creative Enterprises” held by the Lord Mayor of Sydney, Clover Moore. The hall was full to capacity. The keynote speaker, Justine Simons, Head of Cultural Policy for the Mayor of London was talking about the city’s Creative Industries Environmental Program spanning theatre, film, music and the visual arts. A man in the audience put forward the question that I had often been asked: How important really is sustainable practice in the arts? Surely the carbon footprint of the arts industry would be minimal when compared to other heavy industry. To this, Justine Simons responded: film, television and the visual arts have a huge influence on the public, making them the 123

perfect vehicle to raise awareness and lead by example. She said, “It’s a question of showing by doing and by using the creative arts as an accessible educational tool to increase this awareness“ (Simons 2010).

After presenting a paper, earlier this year, at a conference at Sapienza University in Rome, a member of the audience asked me another very pertinent question. What is the validity of creating public art and event design; in themselves not sustainable because they drain resources and produce more waste? Remembering Justine Simon’s comment, eight months earlier, I replied, “it’s a question of showing by doing. Art can act as a catalyst through which to reinvent environmental relationships, transform communities and regenerate urban spaces. The visual arts in all their forms can be powerful communicators.” I went on to explain how a single image can deliver a message and shift opinion or communicate an idea. The photo of the oil drenched pelican, weighed down by an oily sludge, struggling to fly was a poignant image of confusion and despair. It became a symbol of man’s destructive impact on the natural world associated with the BP oil spill in the Gulf of Mexico; the largest environmental disaster of all time.

In creating and cultivating a new cultural ecology, the visual arts will play a pivotal role. They will offer a practical means of transforming spaces and environments in ways that are dynamic, enduring and most importantly, will engage all sectors of the community. Significant change requires collaboration and collective effort. While cultivating these interactive, participatory and educational experiences, event design and public art will excite the soul, stir emotions and symbolize a sustainable future. It will be artists and designers who help reinvent society in fun, creative and sustainable ways.

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7. PERSONAL PRACTICE

7.1 PRELUDE

In 2008 I was commissioned to create a series of sculptural installations by the Australian College of Event Management (UTS), for their 2009 conference, “Meeting the Challenge of Sustainable Development: How do public and corporate events engage with the global agenda?”74 Made from recycled materials and low energy lighting technologies, they demonstrated how beautiful artworks could be made, using sustainable practice.

My career as a set and environment designer for film, television and events involves extensive research, concept sketches and design. Decisions about materials and construction techniques come later. Creating these pieces, the process is reversed; the materials inspired the artwork.

The installations were showcased on three separate occasions. Firstly an event at the Museum of Contemporary Art (MCA) promoted concepts of sustainability relevant to the events industry. In attendance were representatives from government agencies, major Sydney venues, industry associations, leading event production companies and academics. Professor Stuart White (Director, Institute for Sustainable Futures, UTS) provided a succinct overview of the issues relating to climate change. This was followed by another event at the University of Technology’s city campus and finally at the conference on the Gold Coast, the following year.

This section provides a detailed analysis of the processes involved in producing the artworks. It includes the concept, inspiration, working drawings, photographs, experimentation and fabrication of each installation. Although this was not the first time I had applied this ethos to my work; it helped formulate principles of best sustainable practice, which could be applied to my own work. This was the genesis from which this thesis developed.

74 For details see: http://www.acem.uts.edu.au/resources/conferences.html

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EXECUTIVE SUMMARY

The aftermath of a bushfire: a forest of burnt tree trunks, charred orifices etched out of their limbs, like great gaping sores on a blackened landscape. An event that seems so totally devastating, yet strangely vital to both renewal and rebirth of the Australian bush.

This forest of blackened forms, with its glowing embers and smoky exhalations, were the inspiration for the sculptural installation, Totems. There seems to be a parallel between the renewal of the Australian bush and the idea of sustainability.

This piece was part of a series of sculptural installations commissioned by the Australian College of Event Management (UTS), for their 2009 conference, “Meeting the Challenge of Sustainable Development: How do public and corporate events engage with the global agenda?”75

The process began with sourcing materials from “Reverse Garbage,” a facility, which collects and recycles unwanted industrial material. Browsing around the warehouse, I chose a selection of items and materials, which expressed to me a latent beauty. After manipulating these materials, juxtaposing them with others; inspiration finally came and a form suggested itself.

This artwork was made using recycled materials (cardboard tubing) and low-energy fluorescent lighting. It was exhibited at the MCA as part of an introduction to the conference, again at the Pyrmont campus of UTS and finally at the ACEM Summit on the Gold Coast in July 2009.

75 For details see: http://www.acem.uts.edu.au/resources/conferences.html

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Google Image 2008

CONCEPT & INSPIRATION

I was commissioned to create a series of sculptural installations which would address the current issue of global warming by demonstrating how beautiful artworks could be made, using sustainable practices. These artworks designed for inclusion in a conference on the same topic, would act as an educational tool, demonstrating the various ways sustainable practise could to be adopted.

Reverse Garbage, a warehouse packed to the ceiling with industrial and commercial refuse, waiting to be discovered and transformed, suddenly became a regular haunt. The idea of a process of metamorphosis appealed to me. And so did the potential to recreate, re-use and recycle.

My time was spent either intensely gazing at objects or making numerous messy sketches on backs of envelopes, in the hope it would culminate in a miraculous marriage of form and idea. I found the process extremely challenging. As a designer I had been accustomed to a process of research, design, sourcing materials and finally, fabrication. However this project was uniquely different, as it was a case of the materials inspiring the design, not the reverse.

Eventually, a great stack of large cardboard tubes, with a diameter of around 400mm and up to 3 metres in length, presented itself as a possible forest of totems. My original idea was to create something along the lines of a series of Aboriginal totems, like sentinels, combining light with form.

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The next step was to find suitable low-energy lighting. The salesperson from the lighting supply warehouse, Herkes Electrical, suggested an energy efficient fluorescent light, which was available in an exotic palette of colours.

Armed with my raw materials, a book full of sketches and ideas, and an image of a piece of neon art, which I had carried around for years, I embarked on the next stage, fabrication. That I didn’t have a definitive idea as to how this would evolve, was new to me.

A workshop was set up at the University of Technology Sydney, at the Kuringai campus to manufacture these pieces. A carpenter was hired and a small group from the university, of academics and administrators wielding drills, spray guns and brushes, helped with the production process.

I started by standing the tubular forms upright, creating a forest of around 8 sentinel pieces. These were then cut down, so they stood at varying heights. More tubes were added and some were subtracted. It was like an adventure: a bit intimidating at first, then creative and playful.

The next step found me scribbling on the surface of the tubes with my pencil, much the same way as a scribbly bark moth manoeuvres itself under the bark of a gum: the carpenter carefully following my markings with his fine bladed jigsaw.

A few totems were completed and stood together in a grouping. The team contemplated the forms. They had taken on the appearance of stumps in the forest, burnt out by fire. So I experimented with a burnt umber paint, applied dry without adding water, and a large, very rough, bristle brush; literally rubbing the paint into the apertures the carpenter had created. They looked burnt and sore, but beautiful and regal.

The slender fluorescent lights were fitted to the inside of the tubular form. Depending on their height, I combined one or two of varying hue. At first the lights were clamped to the inside of the tube so as to preview the effect of the coloured light through the apertures and how one colour worked with another, in the context of a grouping. The sculpture, which had been created outside in a courtyard, was now brought into a darken space and the lighting experimentation began.

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I was thrilled by the effects I was able to achieve using such simple materials. The possibilities of playing with light, colour and form seemed to be endless. I found the process very exciting and enjoyed my interaction with the team.

This piece, which I now call Totems, has been on display in public spaces three times. It is best viewed in a darkened room and photographs very well. It suggests an Australian forest after bushfire, but the form is still reminiscent of the original intent, of the totem. I am happy with this marriage of ideas and the evolution of this installation.

CASE STUDY – TOTEMS

“Eucalyptus is not only the Universal Australian, it is the ideal Australian – versatile, tough, sardonic, contrary, self-mocking, with a deceptive complexity amid the appearance of massive homogeneity; and occupier of disturbed environments; a fire creature” (Pyne 1992, p.25).

“When James Cook sailed up the east coast of Australia in 1770, he remarked that the land looked like a gentleman’s park. And indeed it was, for those eucalypt groves set in grassy plains were the result of 45,000 years of careful management by Aboriginal people. They, just like the Europeans, irrevocably changed the land when they first arrived – but thereafter they crafted it with fire and hunting, creating something new. It was that ‘something new’ that we now recognise as the distinctive Australian landscape. Thus, in a very real sense, this land is human-made – a handicraft of the Aboriginal people” (Flannery 2002, P.7).

The Australian Aborigines tended to view their relationship with the eucalypt forests, not in terms of their risk, but in terms of the health of the country as a whole. They referred to burning forests and scrub as “cleaning up the country” (Franklin 2006, p.560).

The eucalypt was originally a minor genus, occupying only a small percentage of the Australian environment. Then about 20,000 years ago, as Australia became drier, the eucalypts expanded and began to reshape the environment around them, adapting themselves to natural lightening fire. As disturbance, aridity and fire became more

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common, eucalypts began to take over from former rainforest species, but their spread was limited by natural ignition.

Over time, fire sensitive plants were killed off and the more tolerant ones began to undergo evolutionary transformations and adapt to fire. Many reached a point of being so adapted to fire, that they became dependent upon it and would die out in any region if regular firing stopped. As a result, gum trees produced an incredible battery of pyrotechnic adaptations and more incredibly, individual species adapted to need precisely the type of fire created by human intervention. Simply put, without fire, eucalypts cannot reproduce. The seedpods are so tough, they require the heat of a fire to open and release the seeds within.

The trees themselves attract fire to them by shedding their bark like a skin, dropping their leaves and boughs and building up a pyre around the trunk; forming the perfect conditions for fire. In conjunction with creating this extremely flammable carpet, the trees produce volatile oils in the leaves and bark.

It is clear that eucalyptus evolved initially in relation to the disturbance of natural fire and then in relation to the more systematic fire technologies of the Aboriginal people – which expanded their range and grip on the landscape. “Bushfires in Australia are where basic life processes converge for both humans and trees. Both use fire in producing their essential food, simultaneously and symbiotically” (Franklin 2006, p.565).

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FABRICATION

I wanted to create a forest of totems: a sculptural vision of a burnt out Australian landscape. Eight cardboard tubes, sourced from Reverse Garbage, were cut into varying heights and internally lit using low-energy coloured fluorescent lighting.

I scribbled intricate designs all over the tubes, imitating the markings of a scribbly gum moth on the bark of the eucalypt. These were cut out and painted to resemble the very idiosyncratic shapes commonly seen in an Australian forest after a bushfire.

TOTEMS

• 8 x cardboard tubes 2.5m – 2.8m long x 200mm diameter (Reverse Garbage). The cardboard was 5mm in thickness.

• The tubes were sawn so they varied in height from 1.1m – 2.8m.

• Scribbled design pencilled onto tubes and cut out using a fine jigsaw.

• Sawn apertures painted to resemble burns, using a very dry mix of water based burnt umber paint and a bristle paintbrush.

• Internal brackets were fitted to hold fluorescent tubes and casing.

• Each tube contained one or two coloured fluorescent tubes, 1.2m in length.

• A hole was made at the base of each tube to allow for cable access.

• The 8 totems were illuminated and arranged in situe. All were self-supporting and stable.

PROBLEMS

• Difficulty in mounting the fluorescent tubes due to narrowness of tube opening.

• Fluorescent tubes and their motors are fragile and had some difficulty illuminating all totems. Great care had to be taken transporting the totems.

• For subsequent showings we had fluoros on standby to allow for breakage.

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MATERIALS 8 x 2.5m – 2.8m long x 200mm diameter x 5mm thick cardboard tubes ($200 – Reverse Garbage). Burnt Umber acrylic paint / pencil 8 x Batten T5 Slimline 28W Cool White 1228mm ($40 each – Herkes Electrical). 2 x 28W Blue T5 FH28/67 W10 ($20 each – Herkes) 1 x Sylvania 228GRN T5 GREEN 28W Tube 1 x Sylvania 228RED 28W T5 RED Tube 1 x Sylvania 228PNK T5 PINK 28W Tube 2 x Sylvania 228PUR T5 PURPLE 28W Tube 1 X Sylvania 228GRN 28W T5 GREEN Tube EQUIPMENT Hog hair brush – round, size 12 Small jigsaw Cordless drill and screws Power

EXPERIMENTATION Variable Height, spacing and grouping of totems Creating the effect of the Scribbly Bark Creating often very intricate apertures in the tube Creating a realistic burnt effect Choosing suitable colour / light palette Attaching the fluorescent battens to the inside of the tube Pigging-backing 2 battens with different coloured fluoros

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EXPERIMENTATION (CONT)

CREATING HOT SPOTS WITH LIGHT & BURNT APERTURES

Drew directly onto the cardboard tube with a pencil mimicking the marks of the Scribbly Bark moth and the neon sculpture reference, as inspiration. Cut out apertures in various sizes, using a small jigsaw and following the scribbled shapes. Tested fluoro light inside tube in darkened space. Test for colour intensity and heat. Tested spacing of lights, which have been piggybacked (use connector lead between fluoros). Tested attaching fluoro battens to inside of tubes, first by hanging from a wire brace at the top of the tube and allowing the fluoros to hang freely. The second method of screwing the battens to the inside wall of the tube on the opposite side to the cutout sections. The lights were more stable. Created an aperture at the base of each tube to allow for cable access.

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CONCLUSIONS As the lighting battens needed to be attached to an inside wall of the tube for stability, this meant that there had to be a front and back to each totem. As a result, apertures were only cut into the front and sides of each piece. We were therefore also able to customize a cable exit system, which was hidden from view. This installation is best seen at night in very dim lighting. The exterior appearance of the totems, other than their height, shape and grouping, is not important to the overall effect. The dim lighting conditions are optimal to achieve the intense hot spots of coloured light (as per the original reference). It is however, important to see, the painterly effect of the burns surrounding the apertures. The installation needs to be grouped on a flat surface, preferably away from people traffic because of its fragility. This installation is not weather proof, so is suitable for indoor display only.

FINAL COMMENTS Submitted a tender to Smart Lights Sydney (2009) for the light walk. Want to develop this idea for use in a public space. Must be waterproof, weather and wind resistant.

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EXECUTIVE SUMMARY

This piece is second in a series of installations commissioned by the Australian College of Event Management (UTS), for their 2009 conference, “Meeting the Challenge of Sustainable Development: How do public and corporate events engage with the global agenda?”76

The materials were sourced from Reverse Garbage, a company, which collects and recycles unwanted industrial material. This piece, called Discs, was made from recycled materials; a combination of cylindrical discs and layers of timber stencils depicting Australian wildlife. The Sydney Prop Specialists supplied the low-energy, RGB, LED, battery operated lighting domes. Using labour supplied by ACEM, the piece was assembled in a workshop at the Kuringai Chase campus.

It was exhibited on three occasions: at the MCA as part of an introduction to the conference, again at the Pyrmont campus of UTS and finally at the ACEM Summit on the Gold Coast in July 2009. On two of those occasions, the installation was set up on an exterior balcony. The reflective quality of the glass in the evening added another dimension, which worked well with the original concept of the piece.

CONCEPT & INSPIRATION The transient play of light and shadow in the Australian bush; the reflection of dappled sunlight on a bed of dried leaves, a flash of colour from a lorikeet’s wing, the gentle sigh of trees moving in the breeze mingled with an atmosphere thick with the blue vapours of the eucalypt. The crackling dry bark peels back to reveal a pearl-like surface beneath it’s sombre casing; all pearly pinks and rosy hues. This dreamlike state, where nothing is tangible, where light and colour flirt with the bush, flicker and then disappear, was the inspiration for this installation; to capture this illusive state of light, colour and form.

76 For details see: http://www.acem.uts.edu.au/resources/conferences.html

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While wandering around the cluttered pathways of the Reverse Garbage warehouse, I came across a series of plywood discs, approximately 1 metre in diameter, with a width of 500mm. At the same time I became fascinated with a pile of timber stencils with the repeated cutout forms of Australian wildlife.

These were taken to the workshop at Kuringai together with the cardboard tubes. I found when I layered the stencils, covering one side of the discs; it created a delicate effect, much like lace. I stretched a semi translucent paper over one side (tracing paper) of each disc and stapled it around the perimeter. The layered stencils were then secured on top.

I decided to leave the material raw and rely on lighting to add colour and dimension to the piece. They were then arranged on their sides in a group, with the lacy stencil facing outward. To the inside rim of the discs, a series of RGB LED battery operated domes were attached using Velcro dots. The LED light source is energy efficient and being RGB meant that each dome constantly changed colour, creating a continuous transformation.

These pieces, together with the Totems, have been displayed on 3 occasions in public. They are stacked up, one on top of another and again are better viewed in a darkened space. On each occasion we have chosen an exterior site (balcony) and they have been viewed through glass.

This delicate, fragile looking installation is more abstract in concept, but created using recycled materials and sustainable lighting technology.

MATERIALS 4 x plywood discs 1 metre diameter x 300mm width ($80 – Reverse Garbage). 15 x timber stencils with Australian fauna cutouts Roll heavy duty tracing paper Pkt of Velcro dots 24 x RGB LED light domes 24 x chargers and leads Staples and screws

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EQUIPMENT Staple gun Drill and screws Pencil & scissors Power

EXPERIMENTATION Grouping of discs Layering the stencils to create a lacy effect Working out a system to diffuse the light Attaching the lighting domes

FABRICATION

This sculpture was created using a series of plywood discs and layers of timber stencils, both found at Reverse Garbage. The finished pieces were placed on their

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side stacked one on top of the other. They were illuminated using RGB LED dome lights around the inside perimeter of the discs, creating an ever changing effect.

MATERIALS

• 4 x plywood discs 1 metre in diameter x 300mm deep (Reverse Garbage).

• Several sheets of timber stencils with cutouts of Australian fauna.

• Over one side of each disc was stretched heavy-duty tracing paper and attached using a staple gun

• Over the top of the tracing paper were laid 3 to 4 layers of timber stencils.

• The stencils were secured by screwing them to the rim of each disc.

• 6 Velcro dots were attached to the inside perimeter of each disc.

• 24 RGB LED battery operated lighting domes were attached to the inside perimeter of each disc using Velcro dots.

• The domes individually changed colour, going through the full spectrum.

• The charge on the light domes lasted approximately 4 hours. They need to be charged up overnight.

• One disc was balanced on top of 2 others. Nothing was used to stabilize the unit, but they could be screwed to one another.

PROBLEMS

• Some of the LED domes didn’t successfully take the charge and either didn’t function or had a shorter life span.

• The piece needs to be set up on level ground in order to stabilize the unit as a whole.

• Care needs to be taken, so the piece doesn’t get wet.

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EXECUTIVE SUMMARY Mangroves, with their roots forming a tangled underwater web, provide shelter for a myriad of aquatic communities, protect coastal areas from erosion, provide nutrients for sea-life, act as a filtration system and sequester carbon emissions. The Mangrove could in fact be a living symbol of sustainability.

With this in mind, I created Forests of the Tide, a sculptural installation commissioned by the Australian College of Event Management (UTS), as part of a series of artworks for their 2009 conference “Meeting the Challenge of Sustainable Development: How do public and corporate events engage with the global agenda?”77

The sculptures are made entirely using recycled aluminium rope cable, perforated aluminium sheet and swarf, sourced from scrap metal yards around Sydney. The finished installation was lit using low energy fluorescent and LED lighting.

This installation was showcased at the Pyrmont campus of UTS, for the ACEM Welcome Function and The International Event Management Summit on the Gold Coast (2009).

Google Image 2009

77 For details see: http://www.acem.uts.edu.au/resources/conferences.html

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CONCEPT & INSPIRATION My recent experience at Reverse Garbage, where an interesting object or marriage of objects would suggest the possibility of another form, invited experimentation and manipulation, and led my search to scrap metal yards.

I wanted to create a jewel-like sculptural piece after seeing a strand of aluminium swarf hanging from my supervisor’s wall. I imagined an installation fragile and elegant while still reflecting the concept of sustainability.

Lengths of aluminium rope cable and the corkscrew shavings of swarf were my initial raw ingredients. When I started to unfurl the cable, its twisting form suggested the tangled roots of the mangrove tree.

The strands of the cable were soft and flexible and easily manipulated. I was able to stand it on its now formed “root” base and commenced to unfurl the top section, creating the branches of the tree. Each tree was created in this fashion, varying in height and shape; endowing them with individual character.

To the branches I attached lengths of aluminium swarf, twisting and winding them onto the strands of cable. I enjoyed this process of creation although laborious. The pieces took on a jewel-like appearance, which I found seductive and the repetitive nature of the process was quite meditative.

At the same time I was creating these trees, I continued sketching and making notes of the process. I also visited a variety of other scrap metal yards and metal merchants. It was quite an adventure finding the elusive swarf, suitable for my work.

Once I had created a stand of several trees, I started experimenting with lighting. Overhead lighting was the most effective, as it highlighted the reflective nature of the materials. Because I couldn’t rely on having this type lighting on site, I decided to design and fabricate a series of light boxes, on which the aluminium trees could stand.

This involved additional visits to scrap metal yards to procure perforated aluminium sheet as a base for the trees. I chose a perforated material to aid my experiments, which would combine light with dry ice vapour, in order to recreate the misty environment of the mangrove forest. 153

The light boxes were made using eco ply wood, water based paint and the perforated aluminium tops. To the inside of each box were attached white fluorescent tubes. To maximize efficacy of light, I created a reflective surface, by painting the inside of each box white.

I experimented with both dry ice pellets and block, and consulted various special effects technicians in order to successfully achieve the effect required. Unfortunately the experiments were not successful, due to an inability to keep the water, in which the pellets sat, constantly heated. I have since used a smoke machine, which is only partially satisfactory, as my original concept was to create the creeping, heavy mist, produced by dry ice.

I have also used RGB LED par cans to light the installation, with great success.

This installation has been displayed twice in public spaces and is best viewed in a darkened room.

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CASE STUDY 2 – FORESTS OF THE TIDE

A mangrove forest or swamp is essentially trees and shrubs which live in tropical and sub- tropical tidal habitats, with roots spreading under and above water, creating a thicket of branches and roots as a protective barrier for marine communities.

Mangrove swamps do far more than simply protect a coastline from storm surges; they are natural buffers, which decrease the severity of impacts from storms. The swamps trap debris and silt, stabilizing the near shore environment and clarifying adjacent open water, which facilitates photosynthesis in marine plants (Ong 2008).

Mangroves are nutrient producers that shed and drop about seven and a half tons of leaf litter per acre per year. The constantly shed leaves are quickly broken down by bacteria and fungi and released into the water, providing food for sea-life.

Their roots protect and offer habitat for mammals, amphibians, reptiles, countless unique plants, juvenile fish and invertebrates that filter water such as sponges, barnacles, oysters, mussels, crab, shrimps, and oysters.

Mangroves filter from groundwater and storm water run-off, harmful pesticides, herbicides, hydrocarbons and heavy metals. They also recharge underground water supplies by collecting rainwater and slowly releasing it.

A study by Malaysian professor Jim Eong Ong reveals that mangroves may sequester more carbon than any other ecosystem on earth, soaking up some of the carbon dioxide that humans generate (Ong 2008).

Destruction of mangrove forests is not only bad news for our climate; it would also have devastating effects on the ecology.

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Google Images 2009

Mangroves live life with one foot on land and one in the sea; these botanical amphibians occupy a zone of desiccating heat, choking mud, and salt levels that would kill an ordinary plant within hours. Yet the forests mangroves form are among the most productive and biologically complex ecosystems on Earth. Birds roost in the canopy, shellfish attach themselves to the roots, and snakes and crocodiles come to hunt. Mangroves provide nursery grounds for fish; a food source for monkeys, deer, tree-climbing crabs, even kangaroos; and a nectar source for bats and honeybees.

Some Aborigines in northern Australia believe one mangrove species resembles their primal ancestor, Giyapara, who walked across the mudflats and brought the tree into existence.

Despite their strategic importance, mangroves are under threat worldwide. They are sacrificed for saltpans, aquaculture ponds, housing developments, roads, port facilities, hotels, golf courses, and farms. And they die indirectly from: oil spills, chemical pollution, sediment overload, and disruption of their sensitive water and salinity balance.

Loss of mangrove forests could prove catastrophic in ways only now becoming apparent. For more than 25 years Jim Eong Ong, a retired professor of marine and coastal studies in Penang, Malaysia, has been exploring a less obvious mangrove contribution: What role might these forests play in climate change? Ong and his colleagues have been studying the carbon budget of mangroves—the balance sheet that compares all the carbon inputs and outputs of the mangrove ecosystem—and they've found that these forests are highly 156

effective carbon sinks. They absorb carbon dioxide, taking carbon out of circulation and reducing the amount of greenhouse gas.

“If mangroves were to become recognized as carbon-storage assets, that could radically alter the way these forests are valued”, says Ong (Warne 2007, p.4).

MATERIALS Aluminium “rope” electrical cable (diam 20-30mm, length 1.1 – 1.8m) Aluminium swarf (size: various) Ball chain Perforated aluminium sheet 32 gauge steel wire 9mm eco ply 45mm x 20mm dressed pine supports 9 x 926mm white fluorescent tubes (cool white, 4100K) 6 x 300mm x 250mm, 12 x 125mm x 100mm white steel brackets 6 x 500mm power links for fluoros 25mm chipboard screws Water based paint Rivetts

Materials Composite (Ainsworth 2009) 157

FABRICATION

The idea was to create a Mangrove Swamp of 10 separate trees made of aluminium “rope” cable, separating the aluminium strands top and bottom to form the roots and branches of the trees. These would then be decorated with spiral aluminium turnings (swarf) and ball chain.

The trees would then sit on plinths of various sizes and in groupings of one to three trees. The plinths were to be made using eco ply sides and a perforated aluminium top to allow for underfloor lighting, dry ice vapour and to aid tree stability.

TREES

• Recycled aluminium materials were all sourced from various scrap metal yards (see notebook for details)

• Aluminium cable and swarf difficult to source in quantity

• The rope cable was made up of layers of thick aluminium wire twisted in alternate directions. • To create the trees the rope cable was unfurled from the top and bottom, keeping the twisted integrity of the material. • There were a lot of problems stabilizing the trees. This was achieved by adjusting the shape of the roots. • The branches of the trees were decorated with various sizes of aluminium swarf and ball chain. • Experimentation with different methods of attaching and extending the length of the swarf. • Glues had very minimum success (Superglue/Tarzan’s Grip/2 pack Araldite) • Intertwined beading into metal coils. BASES • Fluoros fitted to the base using 125mm x 100mm white steel brackets. Each one linked by a cable (connector) to allow single power supply to each unit. • Perforated aluminium sheet attached to top of bases using 20mm silver wood screws

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• Larger plinths had 2 sheets with a third strip down the middle. The perforations were overlapped and lined up. Both edges were secured to the other sheets with wire every 200mm. • Used tangled swarf ends as “ground cover” on top of plinths. Test to make sure light and vapour emit through. • Paint interior of bases white to maximize light reflection

PROBLEMS • With handling the swarf due to its fragility.

• Stability of trees • Aluminium cable very pliable so branches and roots of trees easily bent • Materials very dirty • Aluminium can start to dull and whiten with age (galvanise)

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Lightbox & Bracket Detail (Ainsworth 2009)

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Workbook Sketches (Ainsworth 2009) 165

EXPERIMENTATION • Extending and attaching swarf to trees • Stabilising the units • Suitable base to allow for lighting and dry ice vapour to permeate • Fluoro under lighting and RGB LED spot lighting • Dry ice vapour effect

DRY ICE FX

• Dry ice sealed in polystyrene container for 5 hours. Amount of evaporation = very little

WATER TEMPERATURE • Immerse dry ice in 1” cold water = bubbling & vapour very quickly becomes thin and flat • Immerse dry ice in 1” hot water = more vigorous bubbling and thicker vapour • Immerse in 1” boiling water = more vigorous activity with longer lasting action

WATER LEVEL • Immerse dry ice in 3” hot water = very vigorous but short lived bubbling, thicker vapour.

POSITIONING OF DRY ICE • The vapour creeps across the top of a surface and falls “waterfall” like over the edge. • Can’t put dry ice inside the plinth because the vapour is heavy and doesn’t rise • Tried putting dry ice pellets in containers hidden in swarf on top of the plinth • Dry ice needs to be placed in a plastic container, as in metal or china it hums and vibrates loudly There must be no drafts as any movement of air effects the flow of the vapour

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Dry Ice Experiment (Ainsworth 2009)

RESULTS

• The hotter the water; the greater the vapour • The water becomes freezing cold after only a few minutes • The higher the water the shorter the life of the dry ice • The larger the container and the deeper the water, the longer the activity • The vapour is heavy so it creeps along a surface, and drops rather than rises • Continuously adding boiling water revives the effect but only for a few minutes

CONCLUSIONS

• From experimentation and research on the Internet, I conclude that the effect will only work, if the water is kept continuously heated.

SOLUTION

• Hire dry ice machine - still problematic as water quickly cools. • FX only lasts 5 minutes before the water cools • The machine takes 10-15 mins to re-heat • People walking around, air conditioning or any drafts will dissipate the vapour

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• Spoke to two SFX people: David Trethewy (DTFX) and Lou Stefanel about possible alternative solutions. • They suggested using a fogger (need an operator). It gives a general atmospheric smokiness, rather than a thick vapour. It is environmentally unfriendly. Possible side effects for people with respiratory disorders. • Incense crystals – burn with coal – an OH&S issue and has an odour

FINAL COMMENTS • Top lighting of trees is more successful than the fluoro under lighting • RGB LED lighting worked well. The movement of the changing colour enhanced the reflective nature of the piece. • The trees photograph well and are viewed better close up • Seen together the trees lose their individual character and the intricate detailing is lost • Perhaps the trees should be viewed individually as single specimens rather than as a forest.

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Assembling the Mangrove Forest for Exhibition (Ainsworth 2009) 169

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APPENDICES

CONFERENCE PRESENTATIONS, PUBLICATIONS AND EXHIBITIONS

CONFERENCES

2009 FIFTH INTERNATIONAL EVENT MANAGEMENT RESEARCH CONFERENCE

Australian Centre For Event Management, University of Technology, Sydney

“Meeting the Challenge of Sustainable Development: How do public and corporate events engage with the global agenda?”

Gold Coast, Qld, Australia

Workshop Presentation: “Event Creation and Design”

2010 THE GREENER SCREEN - SUSTAINABLE PRACTICE IN THE CREATIVE INDUSTRIES

Metro Screen, Paddington Town Hall, NSW

Supported by Screen NSW

Presentation: Speaker

“Design for Film and Television as Sustainable Practice”

2011 FIFTH INTERNATIONAL CONFERENCE ON DESIGN PRINCIPLES AND PRACTICES

Common Ground Publishing, University of Illinois, USA

Sapienza University of Rome, Italy

Paper Presentation:

“Public Art & Event Design: A Synthesis of Sustainability, Environmental Awareness, Beauty & Functionality”

Double Peer Reviewed

Published in: Design Principles and Practices: An International Journal, Volume 5, Issue 1

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EXHIBITIONS

2009 AUSTRALIAN CENTRE FOR EVENT MANAGEMENT LAUNCH

Exhibited 2 installations: Totems & Discs

Function Room, Museum of Contemporary Art, Sydney

2009 AUSTRALIAN CENTRE FOR EVENT MANAGEMENT DINNER

Exhibited 3 Installations: Totems, Discs & Forests of the Tide

University of Technology Sydney, Ultimo

2009 FIFTH INTERNATIONAL EVENT MANAGEMENT RESEARCH CONFERENCE

Exhibited 3 Installations: Totems, Discs & Forests of the Tide

Holiday Inn, Gold Coast, Qld

PUBLISHED WORK

2009 “THE (GREEN) ART OF EVENTS

Main Event Magazine, issue 39

2009 “SUSTAINABLE EVENTS IN TIMES OF ECONOMIC TURMOIL”

http://www.spicenews.com.au

2010 “METRO SCREEN’S THE GREENER SCREEN”

Film Ink Magazine: www.filmink.com.au

2010 “THE GREENER SCREEN – SUSTAINABLE PRACTICE IN THE CREATIVE

SCREEN INDUSTRIES”

Screen NSW News: www.screen.nsw.gov.au

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2010 “THE GREENER SCREEN”

“Trash to Treasure: Creative Reuse and Art Direction”

Metro Screen Blog: http://www.metroscreen.com.au/TheGreenerScreen

2011 “GREEN CHIEF SUSTAINABILITY”

A 'how to' of recycling and sustainability for events

Blog: http://greenchiefsustainability.com/?page_id=239

2011 PUBLIC ART AND EVENT DESIGN: A SYNTHSIS OF SUSTAINABILITY

ENVIRONMENTAL AWARENESS, BEAUTY AND FUNCTIONALITY”

Design Principles and Practices: An International Journal, Volume 5, Issue 1,

pp: 121 – 132, Common Ground Publishing, University of Illinois, USA

COMMISSIONS

Commissioned by the University of Technology Sydney, to create a series of 3 sculptural installations to be displayed at a function at the MCA, again at the city campus of UTS and finally for the conference “Meeting the Challenge of Sustainable Development Through Events” in Queensland (2009)

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BIBLIOGRAPHY

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