Vetements@Harrods: establishing new ethics for clothes production

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VETEMENTS  was started in 2014 as a French clothing and footwear “design collective” and brand founded by Georgian fashion designer Demna Gvasalia and CEO Guram Gvasalia in 2014. The brand was designed by a collective of their friends who had previous experience working for various known brands. Championing a more ‘pragmatic’ approach to fashion, Demna reflects the ‘down to earth nature’ that he says is reflected in what today’s youth wear. Operating from a philosophical and methodological approach to his designs, Demna propelled Vetements to world class status in just three short seasons (wiki).

Vetements is now trying to raise awareness on clothes overconsumption, overproduction and wastefulness by amassing tones of unused clothes on Harrods window displays. Clothing production is the second-biggest polluter on the planet and the company is trying to encourage companies to have their supply meet their demand.

For more information click here and here

Dutch “Awearness”

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From the company’s site:

(…) with the help of our supply chain partners, we take back all products we supply after use and process them into new raw materials and products. All our materials and products are designed for reuse at the highest possible product and quality level. We also ensure that the chain is controlled through the Circular Content Management System, so that the materials are actually reused in new products. It is now time to realize the transition to a circular economy, because raw materials (such as water for cotton and oil for polyester) are becoming increasingly difficult to obtain and entail a huge environmental burden. For this reason, it is necessary to keep the raw materials in the chain as long as possible, so that the materials retain their value and no new resources need to be obtained. By taking back all these materials, by sorting them and by processing them into new products, a raw materials bank is created, which is owned by the chain partners with whom Dutch Awearness works. The Dutch Awearness chain partners therefore also have the first right to use the materials and products in the raw material bank.

excerpt available here

Closing the Loop Documentary

Closing The Loop is the world’s first feature length documentary on the zero-waste / circular economy, supporting UN Sustainable Development Goal 12 on Responsible Production and Consumption. The film is presented by global sustainability expert Prof. Dr. Wayne Visser, in collaboration with Emmy and two time Telly Award winning director Graham Ehlers Sheldon. The film ranges across three continents and includes commentary from global experts and centres of excellence like the World Economic Forum and the University of Cambridge. A number of innovative circular economy cases are also featured in detail. The Circular Economy Club (CEC) is a communication and promotion partner of Closing the Loop. A film by Kaleidoscope Futures Lab. and Stand Up 8 Productions.

Garbage Dreams Documentary

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From the doc’s official webpage:

On the outskirts of Cairo lies the world’s largest garbage village. A labyrinth of narrow roadways camouflaged by trash, the village is home to 60,000 Zaballeen — Arabic for “garbage people.” The Zaballeen have survived for centuries by recycling Cairo’s waste. Members of Egypt’s minority Coptic Christian community, these entrepreneurial garbage workers recycle nearly all the trash they collect, maintaining what could be the world’s most efficient waste disposal system. Filmed over four years, GARBAGE DREAMS follows three teenage boys born into the Zaballeen’s trash trade: 17-year-old Adham, 16-year-old Osama, and 18-year-old Nabil. Laila, a community activist who also teaches the boys at their neighborhood Recycling School, guides the boys as they transition into adulthood at a time when the Zaballeen community is at a crossroads.

With a population of 18 million, Cairo — the largest city in the Middle East and Africa — has no sanitation service. For generations, the city’s residents have paid the Zaballeen a minimal amount to collect and recycle their garbage. Each day, the Zaballeen collect more than 4,000 tons of garbage and bring it for processing in their village, where plastic granulators, cloth-grinders, and paper and cardboard compactors hum constantly. As the world’s capacity to generate trash skyrockets, Western cities boast of 30 percent recycling rates — admirable, until you compare it with the 80 percent recycling rate the Zaballeen can claim.

In 2003, following the international trend to privatize services, Cairo sold multimillion dollar contracts to three corporations to pick up the city’s garbage. Shimmering waste trucks now line the streets, but these multinational waste disposal corporations are only contractually obligated to recycle 20 percent of what they collect, leaving the rest to rot in giant landfills. As these foreign companies came in with waste trucks and begin carting garbage to nearby landfills, the Zaballeen watched their way of life disappearing.

Suddenly faced with the globalization of their trade, Adham and Osama are each forced to make choices that will impact their futures and the survival of the Zaballeen community. Activist Laila sighs with despair: “They don’t see that we are poor people living off of trash. What are we suppose to do now?”

Filmmaker Mai Iskander provided this update on the plight of the Zaballeen since filming ended:

Unfortunately, the ability of the Zaballeen to both acquire and process Cairo’s garbage has become harder in the last few years. Cairo’s Zaballeen are still locked out of the trash trade by the multinational companies that arrived on the scene several years ago as part of the Egyptian government’s failed attempt to overhaul the municipal waste management system.

Five years after the multinationals took over, it has become abundantly clear that the privatized waste management system is not working.

One of the multinational companies’ contract was terminated because it failed to keep Cairo’s streets clean. With time, it became evident to the two remaining multinationals that they did not have the capacity to manage all of Cairo’s garbage or find a large permanent constant work force. As a result, the foreign waste companies started to contract some Zaballeen, allowing them access to the garbage in return for their garbage collections service. While these Zaballeen are pleased to once again have access to the garbage, they have not regained any percentage of the fees residents paid for their garbage collection service.

Egypt’s recent decision to cull the nation’s nearly 350,000 pigs (in an attempt to prevent an outbreak of swing flu in Egypt) wiped out a vital source of income for Zaballeen that came from raising pigs who fed off organic waste.

While the current economic outlook for the Zaballeen appears bleak, with garbage piling higher every day and with increasing pressure being put on the government to clean up Cairo’s streets, there is undoubtedly growing international and national interest in the Zaballeen’s industrious and innovative recycling practices.

Design-Build: Definitions and Criticisms

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Definitions

Abdullah, 2011: separation of design and building could be the philosophical difference between thinkers (designers) and doers (builders)

Harriss & Widder, 2014: Design build projects exist between the two tectonic plates of learning in academia and practice

Vlahos, 2000: Conventional studio projects present a disconnect from the needs of people and places and the understanding of different cultures. The outcomes of the theoretical studio projects are strongly developed, controlled, formal solutions with little understanding of the architectural intervention in communities. Students engage predominantly with theoretical, fictional projects.

Nepveux, 2010: Being involved physically in building allows students to reconcile their drawings with real structures they can build, weld, wire and plumb

Delport, 2016: Design-build projects have as outcome a physical product made through a process that can vary greatly in scope, focus and intent. They bring in tacit knowledge to the curriculum. The object contributes to social change and improving the lives of others

Van der Wath, 2013: it is an oscillation between the abstract to the concrete that allows students to develop the intellectual agility to tackle the complexities of arch innovation and experimentation that they will use in prof. practice

Brown, 2014: Live Projects’ greatest opportunity is not that it is a place to reflect on one’s own learning but, that it is a place to share that learning and reflection with others (Engestrom: a collective activity system is driven by a deeply communal motive)

Criticism

Erdman, 2002: hands-on built projects in attempting to close the gap between designing and building replace the reflective process of design with the active process of building (-) they resist theorizing and critical discourse (-)

Chiles & Till, 2004: balance between practice and education encourages students to position themselves politically (+) prevarication is also not possible as the luxury of long-term studio development is removed (+)

Christenson & Srivastava, 2005: Focus on completion within a specific time frame overrides the value of process

Foot, 2012: where the completion and the focus on the end product are taken out of the equation, the notion of reflection, open-endedness and non linearity allows students to discover a variety of possible solutions

References

Hermie Elizabeth Delport, 2016, Towards Design-Build Architectural Education and Practice: Exploring Lessons from Educational Design-Build Projects, PhD Thesis, Prof Johannes Cronjé, Faculty of Informatics and Design at the Cape Peninsula University of Technology

The ‘Parques Biblioteca’: the Colombian way to achieving social development and cohesion

Spain Library Park: Giancarlo Massanti Architect, Medellin, Colombia, 2005
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They are urban complexes formed by buildings of modern architecture, with large surrounding spaces for public use, green, pedestrian and decorative. These public spaces give the urban complex the name of Park. The central building or axis of the complex is equipped with a library with high-tech computing equipment in broadband, justifying the name of the Library, and hence the compound expression “Library Park”. According to the municipal administration of the city of Medellín, “The Library Parks are Cultural Centers for social development that encourage citizen meetings, educational and recreational activities, the construction of groups, the approach to new challenges in digital culture. And they are also spaces for the provision of cultural services that allow the cultural creation and strengthening of existing neighborhood organizations. ” (wiki)

Spain Library Park: Giancarlo Massanti Architect, Medellin, Colombia, 2005
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Sergio Fajardo, governor of Antioquia, Colombia, and the mastermind behind the impressive edifices (…) Today (2014), he continues to push for educational opportunities across Antioquia (…) he discussed his current project to build 80 library parks in his home department (…) Building dignity and providing quality education for those in some of the department’s poorest communities has been a driving force behind Fajardo’s decision to build the library parks in underdeveloped neighborhoods like Santo Domingo and La Ladera and in towns like Anorí, which was overrun by guerillas for 50 years (…) Improving education in Medellín and Antioquia has also mobilized people living in these once-disadvantaged neighborhoods to study and dream of new opportunities.

Excerpts from Sarah McClure ‘s article: COLOMBIA: Building on Education, full article available here
The trees of inequality, violence, and illegality share a single root.
Image courtesy of Sergio Fajardo Valderrama, available here