Kent Gration: Musing on sustainability

 

 

 

What is Sustainable?

General acceptance of the term “sustainable” goes hand-in-hand with conducting well-maintained practices, which are environmentally and sociologically aware. These practices, by definition, should be able to be maintained to a certain standard without impairing the planet’s ability to support all forms of life for an indefinite period of time.

What concerns me is the flippant use of phrases such as “sustainable”, “eco-friendly” and “green” and the cynicism that will follow when the general public realise they’ve been manipulated by the ambiguity of these terms.

A product is considered to be “sustainable” based upon current and future management of available resources (renewable and non-renewable), hence some materials are more “sustainable” than others. The term “sustainable” when used in conjunction with selling a product, is becoming more diluted as businesses scramble for a piece of the “Green Pie”. Sustainable, may also relate to the general running of a company, it’s financial position and ability to meet market demand based upon forecast modelling. A company that markets it’s product as “green” in order to sell or unnecessarily make more of it, may in fact counteract the environmental benefits gained by switching to a “greener” option, requiring more energy, materials and finances to meet higher production or demand.

Image: Tectonic,  Tectonic was created as part of the Miniatures and Multiples exhibition (SGAR gallery)

The fundamental driver of sustainability is the rate at which, and how we consume resources, in connection with events outside our control.

Over-consumption is only created by oversupply and its impact is amplified with increases in global standards-of-living in accordance with global affluence. As the population grows, so does the number of designers, and as design becomes more democratised, true is the adage that “everyone wants to be a designer”. So do we really need all these new products (necessary and unnecessary), creating an oversupply in the marketplace, and impairing the planet’s ability as a biological support system. The answer to that comes down to design awareness, rather than design for design’s sake. How many designers have stopped to think that there are more chairs in the world than people? In what way is it an environmental and social imperative that more chairs need to be designed and produced, unless you’re using furniture as a medium to communicate that there are better, more environmentally preferred materials and processes to make chairs with, that needn’t be a memorial to a designer long after they’re gone?

By definition it is impossible to classify a product as “sustainable”, as there are no assurances that our quality of life, ecological standard, and resource availability will endure indefinitely, or that every single process in the supply chain is environmentally-aware. The most realistic assumption of sustainability modelling is a generational projection, the here, the now and not to distant future, based upon what we have and know today. Therefore, it is only the next generation who will encounter and have to address the miscalculations in our “sustainable” models.

Image: Wambamboo, Zhu lights

As a result of the ambiguous use of “sustainable” associations, and the fact that all resources (renewable and non-renewable) are finite, many governments and businesses have not properly implemented conservative supply and demand ratios. They have in fact opted for more aggressive strategies, in order to compete on a world stage that is driven by increasing resource demand, production expectations and profit margins. The problem with these strategies is that they’re not able to fully allow for, and react to future supply issues and events, such as climate change, reduction of available materials, delay in proposed technologies, political upheaval and a growing global population.

Image: Wambamboo, Zhu pendant lights

In order to be truly sustainable, governments and businesses must conservatively self-regulate their consumption and production levels, in order to find a rational supply and demand ratio. This may inturn achieve an equilibrium within a global consumptive ecological system.

Examples of ecological equilibrium are found in nature and the human race must adopt these symbiotic relationships to remain “sustainable”

in the future.

Links

Wambamboo website 

Sustainability stories link 

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Wambamboo: Musing on a sustainable practice

 

Kent Gration

Practice

The key objectives within my practice are to research, use and indirectly promote environmentally-aware alternative materials (with a focus on bamboo at this point) through the medium of furniture and other product derived outcomes. By designing, using and promoting the use of bamboo in the Wambamboo range, this is assisting in reducing our reliance upon heavily depleted renewables and finite resources. As a designer working in the realms of product and furniture, I constantly witness the de-activation of our ability to be self-sufficient with the constant re-invention of products and materials that increase convenience, yet reduce our experiences and adaptive abilities within the natural world.

Image: Wambamboo, Constellation light

The core principles behind the Wambamboo range were to highlight a material that was seen as somewhat sub-standard aesthetically and practically, but had a wide range of environmental, sociological, material and advanced product application benefits. The initial pieces in the range, created at the end of 2006 (exhibited at the Salone Satellite 2007), were an altrusitic statement in design, and at the time “sustainability” or environmentally-aware factors were not the primary focus. In using bamboo, designers such as myself have universally changed the perception of materials (renewable and recycled) which have been viewed as lack lustre within modern contexts.

Wambamboo and Material Use

All pieces in the Wambamboo range use bamboo - a rapidly renewable material with a 5-6 year growth cycle. Bamboo is durable and an environmentally preferred material which has been used for thousands of years in buildings, as a food source and ornamental plant. Bamboo poles, laminated boards, veneers and textiles have been used to highlight the versatility of bamboo and it’s potential as a high-end material.

Image: Wambamboo, Constellation light

In assessing materials for the Wambamboo range, I considered two

fundamentals: Carbon Productive and Carbon Reductive materials and processes. Moso (Phyllostachys Pubescens) is endemic to the central Asia region and is a monopodial (spreading) variety of bamboo, therefore it cannot be grown in Australia. Unless bamboo products are made and sold in central Asia, this is a major component of Moso Bamboos carbon footprint, which is largely offset by it’s ability to sequester carbon (500kg of carbon per tonne of bamboo). Within my practice I’m investigating three native Australian species including Bambusa Arnhemica and researching locally grown plantations in terms of commercial viability and to reduce the embodied energy of freight, whilst fully localising material sourcing and production.

Bamboo used in the range is grown without the use of pesticides or fertilisers, whilst the major plant system is kept intact after harvesting. The propagation of bamboo increases soil quality, whilst reducing soil erosion and bamboo is technically a grass species, therefore reducing the reliance and consumptive impact on slow growth native and introduced plantation wood species and materials.

Image: Wambamboo, O+ table and seats

Production

Bamboo accounts for 95%+ of furniture material content within the pieces in the Wambamboo range, whilst secondary materials and products used are recyclable, water-based or energy efficient. Importance is placed upon using low impact/low energy production methods such as CNC and localised production.

All pieces are designed to efficiently use the material to its full potential during production process to reduce waste. CNC processes are employed to increase accuracy and reduce workplace accidents. Pieces are then hand-assembled and finished to a high standard, with attention to detail. Production is restricted to confirmation of orders, so production will never oversupply the market nor overconsume the resource. All bamboo waste remnants are re-used, whilst e-waste and paper waste is recycled.

Image: Wambamboo, costello seat

 Pieces are more expensive than similar cheap mass-produced pieces of furniture, because of the cost of the materials, processes and craftsmanship involved, ensuring investment in local skilled labour as well as international investment in developing communities. All furniture components are produced in Brisbane with all assembly of components into furniture carried out in Integration Studio’s Brisbane premises.

By factoring in the higher price of skilled labour and high-level of craftsmanship and a refined design aesthetic, this inturn reduces the likelihood of a consumer discarding or throwing the product away.

Sadly, as consumers, we are more inclined to buy ten $20 seats than one $200 seat without thinking whether we really need all ten seats.

We’re also more inclined to throw away those ten $20 seats rather than the $200 which may last a life-time, appreciating in material, sentimental and economic value.

Links
Wambamboo website 
Sustainability stories link 
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