tag:theconversation.com,2011:/id/topics/design-871/articlesDesign – The Conversation2024-03-12T12:29:06Ztag:theconversation.com,2011:article/2200262024-03-12T12:29:06Z2024-03-12T12:29:06ZWhat is the Japanese ‘wabi-sabi’ aesthetic actually about? ‘Miserable tea’ and loneliness, for starters<figure><img src="https://images.theconversation.com/files/580795/original/file-20240309-24-70pplt.jpg?ixlib=rb-1.1.0&rect=0%2C3%2C2046%2C1454&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">A perfectly imperfect tea bowl.</span> <span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/photo/earthenware-bowl-with-glazing-against-black-royalty-free-image/1689830483?phrase=wabi+sabi&adppopup=true">Zen Rial/Moment via Getty Images</a></span></figcaption></figure><p>On a recent visit to New York I stopped at a Japanese bookstore in Manhattan. Among the English-language books about Japan, I encountered a section of a shelf marked “WABI-SABI” and stocked with titles such as “Wabi Sabi Love,” “The Wabi-Sabi Way,” “Wabi-Sabi for Artists, Designers, Poets & Philosophers,” and, in all lowercase, “simply imperfect: revisiting the wabi-sabi house.” </p>
<p>What is wabi-sabi, and why does it rate its own section alongside such topics as sushi and karate?</p>
<p>Wabi-sabi is typically described as a traditional Japanese aesthetic: the beauty of something perfectly imperfect, in the sense of “flawed” or “unfinished.” Actually, however, wabi and sabi are similar but distinct concepts, yoked together far more often outside Japan than in it. Even people who have been brought up in Japan may struggle to define wabi and sabi precisely, though each is certainly authentically Japanese and neither is especially obscure.</p>
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<a href="https://images.theconversation.com/files/580796/original/file-20240309-30-4z3p0j.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Two rows of books displayed spine-out in a store." src="https://images.theconversation.com/files/580796/original/file-20240309-30-4z3p0j.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/580796/original/file-20240309-30-4z3p0j.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=680&fit=crop&dpr=1 600w, https://images.theconversation.com/files/580796/original/file-20240309-30-4z3p0j.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=680&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/580796/original/file-20240309-30-4z3p0j.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=680&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/580796/original/file-20240309-30-4z3p0j.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=855&fit=crop&dpr=1 754w, https://images.theconversation.com/files/580796/original/file-20240309-30-4z3p0j.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=855&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/580796/original/file-20240309-30-4z3p0j.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=855&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">A wabi-sabi sighting in New York.</span>
<span class="attribution"><span class="source">Paul S. Atkins</span>, <a class="license" href="http://creativecommons.org/licenses/by-nd/4.0/">CC BY-ND</a></span>
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<p>As <a href="https://asian.washington.edu/people/paul-s-atkins">a scholar of classical Japanese language, literature and culture</a>, I too have a professional interest in wabi and sabi and how they have come to be understood outside Japan. A cursory search of Google Books shows that the term began to appear in print in English around 1980. Perhaps this was a delayed reaction to a book by <a href="https://trc-leiden.nl/trc-needles/people-and-functions/authors-scholars-and-activists/yanagi-soetsu-1889-1961">Japanese art critic Yanagi Soetsu</a>, “<a href="https://kodansha.us/product/the-unknown-craftsman/">The Unknown Craftsman</a>,” which was translated into English and published in 1972.</p>
<p>In it, in an essay titled, “The Beauty of Irregularity,” Yanagi wrote about the art of the tea ceremony and its simple grace. More broadly, as the title suggests, he was captivated by a sense of beauty apart from traditional ideals of perfection, refinement and symmetry. </p>
<p>Behind “roughness,” Yanagi wrote, “lurks a hidden beauty, to which we refer in our peculiar adjectives ‘shibui,’ ‘wabi,’ and ‘sabi.’” </p>
<p>Shibui means austere or restrained, yet it was wabi and sabi that caught on abroad – perhaps because they rhyme.</p>
<p>After taking off in America and other countries, the phrase wabi-sabi was imported back to Japan as a compound term; the mentions I found in online Japanese sources typically addressed such topics as how to explain wabi-sabi to foreigners. Wabi-sabi does not appear in standard dictionaries of the Japanese language.</p>
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<a href="https://images.theconversation.com/files/580798/original/file-20240309-20-kp1zde.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="The interior of a simple room with faded walls, wooden beams, and a simple scroll hanging in the background." src="https://images.theconversation.com/files/580798/original/file-20240309-20-kp1zde.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/580798/original/file-20240309-20-kp1zde.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=399&fit=crop&dpr=1 600w, https://images.theconversation.com/files/580798/original/file-20240309-20-kp1zde.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=399&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/580798/original/file-20240309-20-kp1zde.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=399&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/580798/original/file-20240309-20-kp1zde.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=501&fit=crop&dpr=1 754w, https://images.theconversation.com/files/580798/original/file-20240309-20-kp1zde.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=501&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/580798/original/file-20240309-20-kp1zde.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=501&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">A tearoom in Kyoto, Japan.</span>
<span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/photo/tea-room-low-angle-view-royalty-free-image/200552152-001?phrase=japan+tea+room&adppopup=true">Karin Slade/Corbis Documentary via Getty Images</a></span>
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<h2>Miserable poetry</h2>
<p>Wabi is a noun derived from the classical Japanese verb “wabu,” related to the modern verb “wabiru” and adjective “wabishii.” Wabu means to languish or be miserable. </p>
<p>Here is a celebrated example from a ninth-century waka poem, <a href="http://afe.easia.columbia.edu/special/japan_600ce_waka.htm">the brief verse of 31 syllables</a> that forms the backbone of classical Japanese poetry. The poet, a courtier named Yukihira, was a provincial governor who, by some accounts, <a href="https://asia453.wordpress.com/literary-locations/locations2016/lack-and-loneliness-on-the-shores-of-suma/">was exiled to Suma Bay</a>, a famous stretch of coastline in western Japan.</p>
<blockquote>Should by chance<br>
Someone ask for me,<br>
Answer that I languish<br>
At Suma Bay, shedding<br>
brine upon the seaweed.</blockquote>
<p>Suma Bay wasn’t all misery for Yukihira; according to legend, <a href="https://www.metmuseum.org/art/collection/search/78554">he loved and was loved</a> by two sisters there. But his poem well captures the pain of wabi – the misery of having been exiled from the courtly world he knew.</p>
<h2>Miserable tea</h2>
<p>Eventually, the misery of wabi made its way into one of Japan’s most iconic traditions: tea.</p>
<p>The custom of drinking powdered green tea, called matcha, entered Japan around 1200. Zen monks returning from China brought the powder home, using it as a medicine and a stimulant. Over time, tea spread to the rest of the population; by the middle of the 16th century, it was a mundane part of everyday life.</p>
<p>It was precisely then that the preparation and serving of tea was sublimated to high art, now known as “chadō” or “sadō,” <a href="https://www.urasenke.or.jp/texte/about/chado/">the so-called Way of Tea</a>.</p>
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<a href="https://images.theconversation.com/files/577821/original/file-20240226-20-q7p9f5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Two people kneeling in a small, roofed room open to the outdoors, set in a garden, look at the photographer." src="https://images.theconversation.com/files/577821/original/file-20240226-20-q7p9f5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/577821/original/file-20240226-20-q7p9f5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=479&fit=crop&dpr=1 600w, https://images.theconversation.com/files/577821/original/file-20240226-20-q7p9f5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=479&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/577821/original/file-20240226-20-q7p9f5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=479&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/577821/original/file-20240226-20-q7p9f5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=602&fit=crop&dpr=1 754w, https://images.theconversation.com/files/577821/original/file-20240226-20-q7p9f5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=602&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/577821/original/file-20240226-20-q7p9f5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=602&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">A Japanese couple in a 19th-century tearoom.</span>
<span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/japanese-couple-in-teahouse-news-photo/534244298?adppopup=true">Historical Picture Archive/Corbis Historical via Getty Images</a></span>
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<p>As the tea ceremony gained in popularity, powerful warlords competed in acquiring the most coveted utensils, including braziers, kettles, scoops, whisks and the bowllike cups in which the tea was whipped and sipped. The tearoom itself might be decorated with rare works of art, such as paintings or calligraphy mounted on hanging scrolls, elaborate flower vases and incense burners.</p>
<p>Then there emerged a group of connoisseurs and teachers of tea who championed a more severe and austere style of presentation: “wabi-cha,” which literally means miserable tea. Whereas newly ascendant warriors and merchants used the tea gathering to flaunt their wealth, <a href="https://library.oapen.org/handle/20.500.12657/76335">wabi-style tea</a> emphasized subtlety, frugality and restraint.</p>
<p>It is not hard to see traces of wabi in old tearooms, with their patina of age and elegant but unobtrusive furnishings, and in the utensils themselves – in particular, the misshapen, cracked or somber-hued teabowls. </p>
<p>Wabi-style tea perhaps reached its pinnacle in the 16th century, when the celebrated tea master <a href="https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1028&context=arch_facultyschol">Sen no Rikyū</a> introduced innovations still used today. These include bamboo tea scoops, black raku-style ceramic teabowls and the “crawling entrance”: the 2-by-2-foot door through which attendees wriggle in order to enter the cozy, womblike tearoom.</p>
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<a href="https://images.theconversation.com/files/580799/original/file-20240309-30-b210tf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="A plain black bowl with a faint golden pattern, resting against a white backdrop." src="https://images.theconversation.com/files/580799/original/file-20240309-30-b210tf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/580799/original/file-20240309-30-b210tf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=415&fit=crop&dpr=1 600w, https://images.theconversation.com/files/580799/original/file-20240309-30-b210tf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=415&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/580799/original/file-20240309-30-b210tf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=415&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/580799/original/file-20240309-30-b210tf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=521&fit=crop&dpr=1 754w, https://images.theconversation.com/files/580799/original/file-20240309-30-b210tf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=521&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/580799/original/file-20240309-30-b210tf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=521&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">A raku-ware teabowl with a design of geese, made in the 18th or 19th century.</span>
<span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/raku-ware-tea-bowl-with-design-of-descending-geese-18th-news-photo/1365697034?adppopup=true">Heritage Art/Heritage Images via Getty Images</a></span>
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<h2>A lovely loneliness</h2>
<p>Like wabi, sabi is a noun: in this case, derived from the classical verb “sabu.” Today, the verb “sabiru” means to rust, with its connotations of age and decay. The modern adjective “sabishii” means lonely.</p>
<p>Classical poems yield many examples of sabi but it really took off as an aesthetic ideal in the 17th century. Poets often tried to capture its particular kind of loneliness in the 17-syllable poetic form of haiku.</p>
<p>As the scholar <a href="https://news.stanford.edu/2020/10/02/makoto-ueda-stanford-japanese-literature-professor-emeritus-dies-89/">Makoto Ueda</a> remarked, sabi is “not the loneliness of a man who has lost his dear one, but <a href="https://press.umich.edu/Books/L/Literary-and-Art-Theories-in-Japan">the loneliness of the rain</a> falling on large taro leaves at night, or the loneliness emerging out of a cicada’s cry amid the white, dry rocks, or the Milky Way extending over the rough sea, or a huge river torrentially rushing in the rainy season.” </p>
<p><a href="https://www.poetryfoundation.org/poets/basho">Matsuo Bashō</a>, a 17th-century master of haiku, saw sabi <a href="https://www2.yamanashi-ken.ac.jp/%7Eitoyo/basho/shitibusyu/sumidawara1.htm">in this verse</a> by his disciple Mukai Kyorai, translated by Ueda: </p>
<blockquote>Under the blossoms<br>
Two aged watchmen,<br>
With their white heads together—.</blockquote>
<p>The juxtaposition of wabi-sabi as a single term is of recent, not ancient, vintage, and it does not seem to have occurred in Japan. Nonetheless, the terms originated in Japanese aesthetics: sabi out of poetry and wabi out of tea. </p>
<p>Combined, they appear to fill a gap in the Western vocabulary for talking about art and life – a leaning away from perfection, completion and excess, and a yearning toward leaving something undone, broken or unsaid.</p>
<p><em>This story has been updated to correct the description of a tearoom door’s dimensions.</em></p><img src="https://counter.theconversation.com/content/220026/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>I was a student of Professor Makoto Ueda.</span></em></p>‘Wabi’ and ‘sabi’ are Japanese words with long histories, but they are rarely used together in the way Western designers have come to use the term.Paul S. Atkins, Professor of Japanese, University of WashingtonLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/2191842023-12-06T10:14:31Z2023-12-06T10:14:31ZThe new Tesla Cybertruck is super-fast and bullet-proof – but who is it for? An expert analyses the design<p>Broadcasting <a href="https://twitter.com/i/broadcasts/1ZkKzjaBdmLKv">live on X</a> (formerly known as Twitter) last Thursday, Tesla’s CEO (and X owner) Elon Musk said that the Tesla Cybertruck is a car of the future “that looks like the future”.</p>
<p>The design is bold. Not just due to the unusual shape and the stainless steel finish, but also in the product offerings. The stainless steel panels and finish are reminiscent of the ill-fated <a href="https://www.autozine.org/Archive/DeLorean/classic/DeLorean.html">DeLorean DMC-12</a> that, while beloved for its starring role in the <a href="https://www.motortrend.com/features/back-to-the-future-delorean-time-machine-facts/">Back to the Future</a> franchise, was otherwise disastrous for the company and a rather lacklustre car with many issues.</p>
<p>The angular shape, flat surfaces and triangular roof line of the Cybertruck look like nothing else currently on sale. The vehicle is very different from the traditional Tesla line up, which are more curved and jelly mould-like in their appearance. This means they’re highly aerodynamic, with <a href="https://www.tesla.com/en_gb/models">reduced drag</a> to maximise their electric range. </p>
<h2>Inconsistent brand identity</h2>
<p>Automotive manufacturers typically have a design language that underscores all of their vehicles, clearly indicating the brand. This could be signified by a consistent grille design or the shape and form of their cars. Take the kidney-shaped grille on BMWs or Mazda’s <a href="https://www.mazda.co.uk/why-mazda/news-and-events/mazda-news/articles/mazdas-kodo-design-philosophy/">“Kodo” design philosophy</a>, for example, which aims to evoke motion even when the car has stopped. </p>
<p>However, Tesla seems to have designed the Cybertruck to bear no resemblance to any of its other offerings. Externally, at least, there’s no clear brand consistency. </p>
<p>Sure, pickups often look different to cars made by the same company due to their differing functions, however even the <a href="https://www.tesla.com/en_gb/semi">Tesla Semi</a>, a heavy goods vehicle, retains the jelly mould styling and associated aerodynamic benefits of the Tesla cars. Considering the aesthetics of the existing Tesla lineup, the Cybertruck doesn’t really fit in.</p>
<p>So, if Tesla vehicle designs have traditionally been about efficiency, what is the goal for the Cybertruck? In design there is a well know saying that “form follows function”. In Tesla’s lineup to date, their design language clearly speaks to efficiency and dynamism. </p>
<p>However, the rather surprising outcome of the <a href="https://uk.finance.yahoo.com/news/watch-teslas-cybertruck-delivery-event-183744926.html">Cybertruck delivery event launch</a> on November 30 was the admission by Musk that the angular shape had <a href="https://electrek.co/2019/11/24/teslas-cybertruck-looks-weird-because-otherwise-it-would-break-the-machines-to-make-it/">largely been decided</a> by the material choice: high-strength stainless steel (understood to be <a href="https://stampingsimulation.com/forming-stainless-steel-tesla-cybertruck/">30x cold-rolled stainless steel</a>). This choice has apparently restricted the manufacturing process, resulting in a flatter, angular form.</p>
<p>Why choose a material that is more difficult to form using traditional processes and that compromises your design language and aerodynamic efficiency? The takeaway from the delivery event is that this material has enabled Tesla to make a truck that is bullet proof – which the live stream went to great lengths to demonstrate with the use of a sub machine gun. </p>
<p>So, if form follows function, the key function that has determined the design of the Cybertruck is the requirement to be bullet-proof. For a public-facing consumer vehicle, that’s a rather surprising unique selling point. Especially when taken in the context of Musk’s “why not” reasoning, which <a href="https://www.forbes.com/sites/zacharyfolk/2023/11/30/elon-musk-boasts-cybertruck-is-apocalypse-proof-at-live-delivery-event/">he followed up</a> with the rather worrying statement:</p>
<blockquote>
<p>The apocalypse can come along any moment, and here at Tesla we have the best in apocalypse technology.</p>
</blockquote>
<h2>The Cybertruck’s safety</h2>
<p>While much of Tesla’s PR relates to the Cybertruck’s robustness and security, concerns around safety mean it will never be able to be sold in Europe – in its launch form at least. This is due to a lack of pedestrian safety. </p>
<p>At the launch event, <a href="https://www.cbsnews.com/news/tesla-cybertruck-cost-release-date-price/#text22If20you20have20an20argumentappeal20to20a20wider20audience">Musk said</a> of driving the truck: “If you have an argument with another car, you will win.” The Cybertruck appears to focus very much on protecting its occupants, while negating the advances in road safety that consider vulnerable road users such as pedestrians, cyclists, motorcyclists or even other vehicles. </p>
<p>The <a href="https://www.tesla.com/en_gb/cybertruck">Cybertruck weighs 6,843lb</a> (3,104kg). Most non-EV pickups weigh less than 3,000kg and the average car weighs less than half of this again. This higher mass would mean that any collisions with a lighter vehicle could be very serious.</p>
<p>The high bonnet and bumper means that a pedestrian would likely be hit by the ultra-hard stainless steel structure of the front bumper and bodywork, where the grille would traditionally be. Tesla did not respond to a request for comment on the safety of the Cybertruck.</p>
<p>In contrast, a typical European hatchback is designed so that a pedestrian would fall onto the bonnet, which is made to deform and absorb the impact on the pedestrian’s head. Bonnets of cars are often made from lighter, less dense material such as aluminium for increased pedestrian safety.</p>
<p>While this design feature means the Cybertruck cannot be sold in Europe, it can be sold in North America, Canada and Mexico. That’s because in these markets it falls under a different classification of <a href="https://www.motoringresearch.com/car-news/tesla-cybertruck-production-europe-news/">light-medium duty truck</a>, meaning that it doesn’t have to adhere to passenger-car pedestrian safety legislation.</p>
<p>This is a shame, as Tesla has recently invested in pedestrian-focused technology for its cars. The Model 3, for example, features a detection system and <a href="https://www.tesla.com/ownersmanual/model3/en_eu/GUID-FCD87BBA-BA45-4955-8E3A-2FEBBA7DE9FA.html">active bonnet</a> that lifts to reduce the impact forces of a pedestrian in a frontal collision.</p>
<p>In its design, the aesthetics and safety considerations of the Cybertruck have diverged from Tesla’s previous values. This begs the question: beyond the initial early adopters, celebrities and influencers, who is this truck for? </p>
<p>Surely it won’t appeal to the same core base of existing environmentally-conscious Tesla customers. And a bulletproof, go anywhere, do anything tank with the ability to reach 60mph in 2.6 seconds is quite a tool in the wrong hands.</p>
<p><em>This article has been amended to change the mass of the Cybertruck from 6,843kg, as incorrectly stated by the Tesla website, to 6,843lb, the correct mass.</em></p>
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<img alt="" src="https://images.theconversation.com/files/536131/original/file-20230706-17-460x2d.png?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/536131/original/file-20230706-17-460x2d.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=600&fit=crop&dpr=1 600w, https://images.theconversation.com/files/536131/original/file-20230706-17-460x2d.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=600&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/536131/original/file-20230706-17-460x2d.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=600&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/536131/original/file-20230706-17-460x2d.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=754&fit=crop&dpr=1 754w, https://images.theconversation.com/files/536131/original/file-20230706-17-460x2d.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=754&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/536131/original/file-20230706-17-460x2d.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=754&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
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<p class="fine-print"><em><span>Matthew Watkins does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>The angular shape, flat surfaces and triangular roof line look like nothing else currently on sale.Matthew Watkins, Principal Lecturer in Mechanical Engineering, Nottingham Trent UniversityLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/2163042023-11-15T23:14:16Z2023-11-15T23:14:16ZWhat designers can do to make textiles healthier for people and the planet<figure><img src="https://images.theconversation.com/files/555594/original/file-20230927-29-m4ke9q.jpg?ixlib=rb-1.1.0&rect=4%2C0%2C994%2C720&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">The glamourous aspect of fashion obscures the health and socio-environmental issues of the textile industry.</span> <span class="attribution"><span class="source">(Shutterstock)</span></span></figcaption></figure><p>The <a href="https://www.youtube.com/watch?v=rwp0Bx0awoE">pollution caused by the textile industry</a> is often discussed, but its <a href="https://pubmed.ncbi.nlm.nih.gov/30278363/">impact on health</a> is less emphasized. Nevertheless, the petrochemical compounds used in the manufacturing of our clothes have harmful effects on <a href="https://www.youtube.com/watch?v=onD5UOP5z_c">workers</a>, <a href="https://www.youtube.com/watch?v=IxVq_38BoPE">surrounding communities</a>, and <a href="http://www.cec.org/files/documents/publications/11777-furthering-understanding-migration-chemicals-from-consumer-products-en.pdf">consumers</a>. This issue has a <a href="https://www.greenpeace.org/static/planet4-international-stateless/2012/11/317d2d47-toxicthreads01.pdf">global impact</a>, but its assessment is complex due to our low chronic exposure to a <a href="https://www.leslibraires.ca/livres/perturbateurs-endocriniens-la-menace-invisible-marine-jobert-9782283028179.html">“cocktail” of synthetic substances</a> whose cause-and-effect relationships are difficult to identify.</p>
<p>Moreover, most of these substances prove to be toxic through interaction or degradation, as is the case with <a href="https://www.canada.ca/en/health-canada/services/chemical-substances/substance-groupings-initiative/aromatic-azo-benzidine-based.html">azo dyes</a> that are ubiquitous and persistent in the environment.</p>
<p>Through my research in sustainable textile design, I explore how design can contribute to making the textile industry more environmentally friendly, focusing on raising ecological awareness among designers, decision-makers, and the general public.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/551518/original/file-20231002-15-cu6ppt.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="textile dyes" src="https://images.theconversation.com/files/551518/original/file-20231002-15-cu6ppt.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/551518/original/file-20231002-15-cu6ppt.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=221&fit=crop&dpr=1 600w, https://images.theconversation.com/files/551518/original/file-20231002-15-cu6ppt.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=221&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/551518/original/file-20231002-15-cu6ppt.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=221&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/551518/original/file-20231002-15-cu6ppt.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=277&fit=crop&dpr=1 754w, https://images.theconversation.com/files/551518/original/file-20231002-15-cu6ppt.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=277&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/551518/original/file-20231002-15-cu6ppt.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=277&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Dyes made from agri-food waste and inspired by Pantone.</span>
<span class="attribution"><span class="source">(Vanessa Mardirossian)</span>, <span class="license">Fourni par l'auteur</span></span>
</figcaption>
</figure>
<h2>Design-led solutions</h2>
<p>In the 1960s, designer <a href="https://papanek.org/archivelibrary/victor-papanek/">Victor Papanek</a> was the first to address <a href="https://www.goodreads.com/book/show/190560.Design_for_the_Real_World">environmental issues related to industrial product design</a>. Meanwhile, biologist <a href="https://www.rachelcarson.org/silent-spring">Rachel Carson</a> initiated the emergence of ecological consciousness, shedding light on the profound impact of human activity on the environment. </p>
<p>Then in the 1990s, <a href="https://www.epa.gov/greenchemistry/basics-green-chemistry">green chemistry</a> facilitated collaboration between design and biology to develop <a href="https://papers.ssrn.com/sol3/papers.cfm?abstract_id=1278402">ecological textiles</a>. Aligned with <a href="https://mcdonough.com/wp-content/uploads/2013/03/Hannover-Principles-1992.pdf">The Hannover Principles</a>, these textiles aimed to enhance waste management and preserve water purity. Intending to harmonize the interdependence between human activity and the natural world by eliminating toxic inputs at their source, these principles also gave rise to the “<a href="https://us.macmillan.com/books/9780865475878/cradletocradle">Cradle to Cradle</a>” ecodesign philosophy that popularized the concept of circular design in the early 2000s.</p>
<h2>An inspired approach from nature</h2>
<p>Humanity has always drawn inspiration from nature to create. </p>
<p>However, in the late 20th century, biologist <a href="https://biomimicry.org/janine-benyus/">Janine Benyus</a> invited us to <a href="https://biomimicry.org">observe the operating mechanisms of living organisms</a>, encouraging a reevaluation of manufacturing processes through <a href="https://biomimicry.org/chapterone/">biomimicry</a> — a concept that draws inspiration from nature’s designs and processes to create more sustainable technologies.</p>
<p>Could we, for example, produce dyes at room temperature and without toxic molecules? This approach leads to a shared reflection between design, science and engineering. This multidisciplinary vision of design, where ecology, medicine, and politics play a role in the design process to better meet the needs of society, was already advocated by Papanek in 1969.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/551520/original/file-20231002-30-2h1680.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="diagram" src="https://images.theconversation.com/files/551520/original/file-20231002-30-2h1680.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/551520/original/file-20231002-30-2h1680.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=450&fit=crop&dpr=1 600w, https://images.theconversation.com/files/551520/original/file-20231002-30-2h1680.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=450&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/551520/original/file-20231002-30-2h1680.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=450&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/551520/original/file-20231002-30-2h1680.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=566&fit=crop&dpr=1 754w, https://images.theconversation.com/files/551520/original/file-20231002-30-2h1680.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=566&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/551520/original/file-20231002-30-2h1680.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=566&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Concept of ‘minimal design,’ by Victor Papanek.</span>
<span class="attribution"><span class="source">(Diagram taken from the work of Victor Papanek)</span></span>
</figcaption>
</figure>
<h2>Developing ecological literacy</h2>
<p>In 1990, educator <a href="https://blogs.ubc.ca/lled3662017/files/2017/08/Orr_Environmental-Literacy-Ecoliteracy.pdf">David Orr</a> introduced the concept of ecoliteracy to address a major gap in traditional education, centered on humans and ignoring their interconnectedness with nature. He advocated for environmental education to develop a sense of belonging to one’s living environment and establish production models that promote the resilience of ecosystems. This concept helps to understand the intricate connections between human activities and ecological systems, to foster a sense of responsibility and informed decision-making.</p>
<p>In the 2000s, fashion design researcher <a href="https://katefletcher.com">Kate Fletcher</a> supported the development of this ecological literacy to help stakeholders in the industry (designers, consumers and manufacturers) understand the implicit interconnection of industrial and living systems, showing that fashion maintains a vital relationship with nature. </p>
<p>Then, in 2018, the sustainable design researcher <a href="https://www.bloomsbury.com/ca/design-ecology-politics-9781350258778/">Joanna Boehnert </a>emphasized that ecological literacy not only promotes the development of new, more sustainable ways of producing, but also broadens our social, political, and economic vision to systemically address transdisciplinary sustainability challenges. </p>
<p>This is also supported by biologist Emmanuel Delannoy who offers a <a href="http://permaeconomie.fr/author/edelannoy">permaeconomy</a> model, blending permaculture and economics to establish a symbiotic relationship between economic systems and the natural environment, fostering resilience and prompting a reevaluation of our connection with living organisms</p>
<h2>A colourful heritage to rediscover</h2>
<p>My <a href="https://hexagram.ca/fr/qu-est-ce-que-la-recherche-creation/">research-creation</a> proposes a critical reflection on textile dyeing. </p>
<p>This field of investigation leads me to explore colouring beyond its aesthetic to raise ecological, economic and pedagogical questions. </p>
<p>While the glamourous aspect of fashion obscures the health and socio-environmental issues of the textile industry, I direct my thinking toward a more global understanding of dyeing, including its origins, manufacturing methods and interactions with living organisms. </p>
<p>I explore the development of non-toxic dyes by studying, on one hand, literature on <a href="https://www.belin-editeur.com/le-monde-des-teintures-naturelles">natural dyes since prehistory</a>, and, on the other hand, by meeting experts in the field such as scientific historian <a href="https://www.cnrs.fr/sites/default/files/download-file/CardonD.pdf">Dominique Cardon</a> or ecoliterate artisan <a href="https://fibershed.org/staff-board/">Rebecca Burgess</a>, founder of the <a href="https://fibershed.org">Fibershed</a> concept, which aims to produce biodegradable clothing in a limited geographical space. </p>
<p>I also study field practices, including those of the Textile Laboratory of <a href="https://www.luma.org/arles/atelierluma.html">Atelier Luma</a>, which works at the intersection of ecology, textiles and regional economic development. </p>
<p>And, I keep an eye on <a href="https://www.arts.ac.uk/subjects/textiles-and-materials/postgraduate?collection=ual-courses-meta-prod&query=!nullquery&start_rank=1&sort=relevance&f.Subject-test%7Csubject=Textiles%20and%20materials&f.Course%20level%7Clevel=Postgraduate">design education programs </a>that offer an art-science approach where deep ecology is integrated into the design process. </p>
<h2>Symbiosis between nature and the textile industry</h2>
<p>Additionally, in the <a href="https://speculativelifebiolab.com/2022/04/03/cooking-and-culturing-colour-part-iv/">research laboratory</a> where I work, I experiment with the intersection of traditional and prospective dyeing recipes.</p>
<p>Inspired by the concept of <a href="https://www.scirp.org/(S(lz5mqp453edsnp55rrgjct55))/reference/ReferencesPapers.aspx?ReferenceID=1999041">industrial ecology</a> (precursor of the <a href="https://www.canada.ca/en/services/environment/conservation/sustainability/circular-economy.html">circular economy</a>), that values the waste of one industry as resources for another, I use <a href="https://www.lapresse.ca/societe/mode-et-beaute/2021-03-30/quand-les-dechets-se-melent-de-la-mode.php">agri-food waste</a> as a colouring source, combined with the use of <a href="https://hexagram.ca/en/demo2-vanessa-mardirossian-the-culture-of-color-an-ecoliteracy-of-textile-design/">pigment-producing bacteria</a> to expand the colour palette. </p>
<p>Thus, tannins from various waste materials can be used in dye recipes. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/551537/original/file-20231002-25-qtiisx.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="bits of coloured fabric" src="https://images.theconversation.com/files/551537/original/file-20231002-25-qtiisx.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/551537/original/file-20231002-25-qtiisx.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=450&fit=crop&dpr=1 600w, https://images.theconversation.com/files/551537/original/file-20231002-25-qtiisx.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=450&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/551537/original/file-20231002-25-qtiisx.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=450&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/551537/original/file-20231002-25-qtiisx.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=566&fit=crop&dpr=1 754w, https://images.theconversation.com/files/551537/original/file-20231002-25-qtiisx.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=566&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/551537/original/file-20231002-25-qtiisx.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=566&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Fabric dyed from waste and bacteria.</span>
<span class="attribution"><span class="source">(Vanessa Mardirossian)</span>, <span class="license">Fourni par l'auteur</span></span>
</figcaption>
</figure>
<p>But colouring a textile is only the visible part of the iceberg, as fibre preparation takes place upstream to ensure the colour’s resistance to light and washing, known as “mordanting.” Whether the fibre is animal or vegetable, different mordants will be used. </p>
<p>This expertise acquired iteratively between theory, prototyping, and results analysis contributes to gaining “textile ecoliteracy.” Coupled with a knowledge of biology, this allows for understanding the deleterious interactions between the material and living worlds. </p>
<p>Ultimately, the synthesis of ecoliteracy and biomimicry concepts has led me to reflect on a macro-vision of the fashion industry ecosystem, and to consider the concept of “textile ecoliteracy” as a means to deploy a network of intersectoral collaborations between design, health, education, and industry. </p>
<p>My research aims to show that <a href="https://www.tandfonline.com/doi/abs/10.2752/175693810X12774625387594">textile materiality must harmonize symbiotically with natural ecosystems</a> so that both parties benefit from their interaction.</p>
<p>In conclusion, the textile industry’s environmental and health impacts necessitate urgent attention and innovative solutions. This article has delved into the historical context, explored interdisciplinary approaches, and proposed the concept of “textile ecoliteracy” as a collaborative means to address these challenges. </p>
<p>By focusing on sustainable design, education, and the utilization of innovative practices, designers can play a pivotal role in reshaping the industry. The synthesis of ecological awareness and biomimicry principles highlights the potential for a harmonious coexistence between textile materiality and natural ecosystems. </p>
<p>As we move forward, fostering a symbiotic relationship between the textile industry and the environment is not just a choice but a collective responsibility — one that promises a healthier future for both people and the planet.</p><img src="https://counter.theconversation.com/content/216304/count.gif" alt="La Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Vanessa Mardirossian is a member of Acfas, Hexagram and Concordia University's Textiles & Materiality and Critical Practices in Material and Materiality research laboratories. She has received funding from the Social Sciences and Humanities Research Council of Canada (SSHRC), Concordia University and Université du Québec à Montréal.</span></em></p>The production, use and end-of-life of clothing all have an impact on our health. But greater ecological awareness could turn the tide.Vanessa Mardirossian, PhD Candidate and educator in sustainable fashion, Concordia UniversityLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/2152152023-11-09T13:32:53Z2023-11-09T13:32:53ZWhy more food, toiletry and beauty companies are switching to minimalist package designs<figure><img src="https://images.theconversation.com/files/557927/original/file-20231107-21-bfmyl4.jpg?ixlib=rb-1.1.0&rect=14%2C611%2C4167%2C2840&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Siggi's Dairy keeps its yogurts simple with white packaging, black text and a dab of color to indicate the flavor.</span> <span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/siggis-yogurt-is-seen-on-during-day-1-of-the-new-york-news-photo/482897027?adppopup=true">Neilson Barnard/Getty Images</a></span></figcaption></figure><p>For decades, marketers of consumer goods designed highly adorned packages, deploying bold colors, snazzy text, cartoons and illustrations <a href="https://doi.org/10.1509/jmkg.68.4.60.42736">to seize the attention of shoppers</a>. Conventional wisdom held that with thousands of products competing against one another in the aisles of big box stores and supermarkets, companies needed to do everything in their power to make their products stand out.</p>
<p>But recently, there’s been a move toward simplicity. The stripped-down packaging you’ll often see is reminiscent of <a href="https://doi.org/10.1086/504138">the minimalist art</a> that flourished in the 1960s. A reaction against overly complex, representative works, the art that emerged in this period was characterized by spareness and abstraction. Any elements deemed unnecessary were removed.</p>
<p>What’s behind the move toward elegant but uncluttered packaging designs? <a href="https://doi.org/10.1177/00222429231192049">Recent research</a> <a href="https://scholar.google.com/citations?user=m9Q0XUIAAAAJ&hl=en">I conducted</a> with marketing professors <a href="https://scholar.google.com/citations?user=uwoILXsAAAAJ&hl=en">Rosanna K. Smith</a> and <a href="https://scholar.google.com/citations?user=pjmIeGMAAAAJ&hl=en">Julio Sevilla</a> explored whether shoppers actually prefer this packaging – and, if so, why.</p>
<h2>When less is more</h2>
<p>First, we wanted to see if shoppers were willing to pay more for products in these packages. So we analyzed over 1,000 consumer goods, such as shampoo, deodorant, crackers and cereal, from the largest supermarket chain in the U.S.</p>
<figure class="align-center ">
<img alt="A shopping cart filled with colorfully packaged food products." src="https://images.theconversation.com/files/558085/original/file-20231107-17-uxqwi1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/558085/original/file-20231107-17-uxqwi1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=547&fit=crop&dpr=1 600w, https://images.theconversation.com/files/558085/original/file-20231107-17-uxqwi1.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=547&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/558085/original/file-20231107-17-uxqwi1.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=547&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/558085/original/file-20231107-17-uxqwi1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=687&fit=crop&dpr=1 754w, https://images.theconversation.com/files/558085/original/file-20231107-17-uxqwi1.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=687&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/558085/original/file-20231107-17-uxqwi1.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=687&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">For decades, eye-popping packaging was the modus operandi for food brands.</span>
<span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/1960s-grocery-shopping-cart-full-of-groceries-news-photo/658540867?adppopup=true">H. Armstrong Roberts/ClassicStock via Getty Images</a></span>
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<p>We had two research assistants code for the extent to which the packaging design was simple or complex. We then averaged their ratings to create a measure of packaging design simplicity. From this data, we found that products in simple packaging generally had higher retail prices than similar products that didn’t. The higher retail prices indicate that shoppers are <a href="https://online.hbs.edu/blog/post/willingness-to-pay">willing to pay more</a> for products in this packaging.</p>
<p>Next, across a series of experiments, we recruited students from a public university. We asked them to look at different packaged products, tell us how much they were willing to pay for those products, how many ingredients they thought the products might have, and how pure they perceived the products to be. </p>
<p>We found that the preference for simple packaging was due to the fact that pared-down designs sent a subtle yet powerful signal: purity. This happened because the simplicity of the product package made participants more likely to assume that the product contained fewer ingredients, along with fewer preservatives, added colors or artificial flavors.</p>
<p>People will pay a premium for products that don’t have additives or chemicals, <a href="https://foodinsight.org/ific-survey-from-chemical-sounding-to-clean-consumer-perspectives-on-food-ingredients/">whether it’s food</a>, <a href="https://www.insider.com/guides/home/natural-cleaning-brands">cleaning supplies or soaps</a>. And this may explain why the study’s participants were willing to fork over more cash for products that appear in simple packages – regardless of whether they actually contain fewer ingredients. </p>
<p>Several brands illustrate the ability of simple packaging to attract shoppers. </p>
<p>Kashi’s cereal boxes employ a muted color scheme and avoid overloading the package with claims or extensive product descriptions. <a href="https://hips.hearstapps.com/vader-prod.s3.amazonaws.com/1623175502-51dmC1s4bL._SL500_.jpg?crop=0.976xw:1.00xh;0.0100xw,0&resize=980:*">Siggi’s yogurt containers</a> embrace white spaces, muted colors and straightforward imagery, highlighting only the crucial product details. </p>
<p><a href="https://s.yimg.com/ny/api/res/1.2/W.ITDLpkkRQz9sPVOfXx2A--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyMDA7aD02OTI-/https://s.yimg.com/os/creatr-uploaded-images/2020-03/3956a6c0-6166-11ea-a77e-77ee9a27b3d3">Native deodorant</a> <a href="https://www.nativecos.com/cdn/shop/products/Classic_BW18_C_M_prod_02_f8125d26-5e2f-48c2-b5bc-e5a558f64747_600x.jpg?v=1639156861">and body wash packaging</a> stands out with its clear background paired with concise typography. And hair care brands <a href="https://www.gettyimages.com/detail/news-photo/view-of-ouai-products-during-celebrity-hair-stylist-jen-news-photo/623051656?adppopup=true">such as OUAI</a> <a href="https://cloudinary.forhims.com/image/upload/Hims/hair/power-pack/Hims-HairPowerPack-Share">and Hims</a> often use muted colors and simplistic typography to succinctly present information about their products.</p>
<figure class="align-center ">
<img alt="A row of silver bottles of hair spray with a white label and black text." src="https://images.theconversation.com/files/558080/original/file-20231107-20-s6vdjg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/558080/original/file-20231107-20-s6vdjg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=432&fit=crop&dpr=1 600w, https://images.theconversation.com/files/558080/original/file-20231107-20-s6vdjg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=432&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/558080/original/file-20231107-20-s6vdjg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=432&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/558080/original/file-20231107-20-s6vdjg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=543&fit=crop&dpr=1 754w, https://images.theconversation.com/files/558080/original/file-20231107-20-s6vdjg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=543&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/558080/original/file-20231107-20-s6vdjg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=543&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">OUAI hair spray bottles feature a minimalist design.</span>
<span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/view-of-ouai-products-during-celebrity-hair-stylist-jen-news-photo/623051656?adppopup=true">Rachel Murray/Getty Images</a></span>
</figcaption>
</figure>
<h2>When less is less</h2>
<p>However, simple packaging design is not always effective. We found that products from <a href="https://thedinnerdaily.com/generic-vs-name-brand-foods-is-there-really-a-difference/">generic brands</a> fail to reap the same premiums from minimalist packaging. A product from a generic brand is one that does not have a brand name and is typically sold at a lower price than name brand equivalents. </p>
<p>In the case of these products, the simplicity of the packaging seems to align with <a href="https://www.investopedia.com/terms/g/generic-brand.asp#:%7E:text=The%20term%20generic%20brand%20refers,of%20a%20good%20or%20service.">customers’ beliefs</a> that generic brands invest less in the quality of their products. So it’s possible that the simplicity of generic product packaging signals a lack of investment in the product rather than fewer chemicals or food additives.</p>
<figure>
<iframe width="440" height="260" src="https://www.youtube.com/embed/3_BZVHjce_Q?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe>
<figcaption><span class="caption">A 1981 TV advertisement for generic brands at Jewel, a regional supermarket chain in the Chicago area.</span></figcaption>
</figure>
<p>The desires of shoppers can also influence the preference for simple packaging. When people seek healthier options, we found that they’ll pay more for products with simple packaging. However, when consumers want to indulge in junk food, they’ll be more inclined to purchase products with complex packaging, which signals many ingredients and lower purity – <a href="https://doi.org/10.1509/jmkg.70.4.170">qualities associated with more flavor</a>.</p>
<p>So when it comes to minimalist aesthetics, less can often be more. But in some cases, less is simply less.</p><img src="https://counter.theconversation.com/content/215215/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Lan Anh Nu Ton does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>Pared-down packaging designs send a subtle yet powerful message of purity to shoppers – and they’re willing to fork over more cash for these goods, regardless of the actual number of additives.Lan Anh Nu Ton, Assistant Professor of Marketing, Texas Christian UniversityLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/2082602023-10-19T15:24:59Z2023-10-19T15:24:59ZNew ‘healing’ prison in Ireland points to long history of progressive penal reform<p>Ireland has formally opened <a href="https://www.irishprisons.ie/minister-justice-helen-mcentee-visits-new-limerick-prison-expansion-announces-publication-irish-prison-service-annu/">the new women’s wing</a> of the Limerick prison. </p>
<p>This expansion was desperately needed. The former wing was at <a href="https://www.iprt.ie/latest-news/iprt-voices-grave-concern-about-prison-overcrowding-as-bed-capacity-reaches-100-across-prison-estate/">164% capacity</a>, with women reportedly sleeping on mattresses on the floor of what were already inadequate conditions of a dilapidated 19th-century building. </p>
<p>The new build now offers space for 50 women, an increase in capacity of 78%. It also eschews the <a href="https://theconversation.com/prisons-and-asylums-prove-architecture-can-build-up-or-break-down-a-persons-mental-health-109989">dehumanising cliches</a> of the traditional prison environment. </p>
<p>Corridors follow gently bending routes into skylight-lit spaces. Rooms are painted in what has been described as a “<a href="https://www.architectsjournal.co.uk/news/limerick-womens-prison-an-architecture-of-hope">calming colour palette</a>” of lilac and pale blue. </p>
<p>The windows don’t have bars. The prisoners’ cells look like student accommodation. In place of a prison yard, there is a garden and a children’s play area.</p>
<figure class="align-center ">
<img alt="A colourful view of a prison recreation room." src="https://images.theconversation.com/files/554379/original/file-20231017-17-e4f19r.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/554379/original/file-20231017-17-e4f19r.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=336&fit=crop&dpr=1 600w, https://images.theconversation.com/files/554379/original/file-20231017-17-e4f19r.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=336&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/554379/original/file-20231017-17-e4f19r.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=336&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/554379/original/file-20231017-17-e4f19r.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=423&fit=crop&dpr=1 754w, https://images.theconversation.com/files/554379/original/file-20231017-17-e4f19r.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=423&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/554379/original/file-20231017-17-e4f19r.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=423&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">An architectural rendering of the new Limerick female prison wing.</span>
<span class="attribution"><span class="source">Department of Justice|Louise Brangan</span>, <a class="license" href="http://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC-ND</a></span>
</figcaption>
</figure>
<p>Like anyone in the care of the state, prisoners should expect clean and humane living conditions. <a href="https://www.irishprisons.ie/wp-content/uploads/documents_pdf/Press-Release-Limerick-Prison-B-Division.pdf">More than</a> good conditions, though, this design project has been hailed as an <a href="https://www.architectsjournal.co.uk/news/limerick-womens-prison-an-architecture-of-hope">“architecture of hope”</a>, providing a healing space in which the prisoners might be “thrive and flourish”. </p>
<p>This is not Ireland’s first experiment in progressive incarceration. My research shows that <a href="https://journals.sagepub.com/doi/full/10.1177/1362480619843295">in the 1960s and 1970s</a>, the nation cleaved to the idea that the best kind of penal system is when there is the least amount of imprisonment.</p>
<figure>
<iframe width="440" height="260" src="https://www.youtube.com/embed/QPwvQ0K3tPU?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe>
</figure>
<h2>Policies to avoid imprisonment</h2>
<p>Before the 1970s, prison policy in England and much of the western world was underpinned by a <a href="https://theconversation.com/how-lessons-in-scandinavian-design-could-help-prisons-with-rehabilitation-106554">rehabilitative</a> ambition. The idea was that by employing the likes of criminologists, social workers and psychologists, prisons could transform people and ultimately reduce crime. </p>
<p>In Ireland, things were a little different. The prison system was managed by the Prison Division, a small group of generalist civil servants who were unconvinced by the new prison professionals and their individuated schemes. </p>
<p>The Division held that prisoners were not inherently criminal. Poverty in Ireland at the time was endemic. Officials assumed that prisoners’ crimes had socio-economic, not pathological, causes.</p>
<p>Contrary to other nations, the Division also worried that prison was, in fact, fundamentally damaging. In 1963, Minister for Justice Charles Haughey stated in an internal memo that “the institutionalisation, psychological deterioration and disruption to family and individual life, consequent on imprisonment”, must be avoided. </p>
<p>This was a widely held view. During <a href="https://www.oireachtas.ie/en/debates/debate/dail/1970-05-27/3/?highlight%5B0%5D=basically&highlight%5B1%5D=unsuitable&highlight%5B2%5D=encouraging&highlight%5B3%5D=individuals&highlight%5B4%5D=become&highlight%5B5%5D=adequate&highlight%5B6%5D=responsible&highlight%5B7%5D=members&highlight%5B8%5D=normal&highlight%5B9%5D=society">a debate on prisons in 1970</a>, TD (member of the Irish parliament) for Fine Gail John Bruton said that prison was “basically unsuitable” as a tool for encouraging people to become responsible members of society.</p>
<figure class="align-center ">
<img alt="An old manor house in rural Ireland." src="https://images.theconversation.com/files/554337/original/file-20231017-23-m0c4vb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/554337/original/file-20231017-23-m0c4vb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=424&fit=crop&dpr=1 600w, https://images.theconversation.com/files/554337/original/file-20231017-23-m0c4vb.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=424&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/554337/original/file-20231017-23-m0c4vb.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=424&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/554337/original/file-20231017-23-m0c4vb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=533&fit=crop&dpr=1 754w, https://images.theconversation.com/files/554337/original/file-20231017-23-m0c4vb.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=533&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/554337/original/file-20231017-23-m0c4vb.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=533&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Shelton Abbey, in County Wicklow.</span>
<span class="attribution"><a class="source" href="https://commons.wikimedia.org/wiki/File:%22Church,_Interior,_Arklow,_Co._Wicklow%22_is_in_Arklow,_but_definitely_exterior_(35740556981).jpg#/media/File:%22Church,_Interior,_Arklow,_Co._Wicklow%22_is_in_Arklow,_but_definitely_exterior_(35740556981).jpg">Wikimedia</a></span>
</figcaption>
</figure>
<h2>Ireland’s humane penal reforms</h2>
<p>It was in this sceptical spirit that the Irish government would go on to <a href="https://journals.sagepub.com/doi/full/10.1177/1362480619843295">implement</a> significant reform. In 1973, the Republic of Ireland’s first open prison, Shelton Abbey, was established in a former country manor. A maximum of 90 prisoners spent their days tending to the gardens. </p>
<p>In 1975, the Training Unit, the nation’s first purpose-built prison, opened on the site of Mountjoy prison in Dublin. Modernist in style, it was lauded for its semi-open regime. Its 90 prisoners wore their own clothes and came and went during the day for work and training purposes. </p>
<p>Perhaps the most radical of these changes was the permissive and liberal use of temporary release. Established in Ireland in 1960, this allowed an increasing number of prisoners to return home for days, weeks and sometimes permanently, serving the end of their sentence at home. </p>
<p>None of this was undertaken with the central ambition of reducing crime. That kind of rehabilitation was beyond the prison, they believed. The Division hoped that by being released more frequently and by having access to more engaging activities and less austere spaces, it might help prisoners develop as people, but at least it would reduce the pains of imprisonment. As an internal 1981 Prison Division report <a href="https://journals.sagepub.com/doi/full/10.1177/1362480619843295">put it</a>:</p>
<blockquote>
<p>[The aim is] to equip the offender with educational, technical and social skills which will help him to turn away from a life of crime, if he so wishes. However, even if the offender on release does not turn away from a life of crime, those services can be regarded as having achieved some success if they bring about an improvement in the offender’s awareness of his responsibilities to himself, his family and the community.</p>
</blockquote>
<p>Success, they concluded, was impossible to measure. Best to be lenient, first and foremost.</p>
<figure class="align-center ">
<img alt="A black and white archival photograph of people playing sport indoors." src="https://images.theconversation.com/files/554513/original/file-20231018-17-32t82p.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/554513/original/file-20231018-17-32t82p.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=314&fit=crop&dpr=1 600w, https://images.theconversation.com/files/554513/original/file-20231018-17-32t82p.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=314&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/554513/original/file-20231018-17-32t82p.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=314&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/554513/original/file-20231018-17-32t82p.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=394&fit=crop&dpr=1 754w, https://images.theconversation.com/files/554513/original/file-20231018-17-32t82p.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=394&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/554513/original/file-20231018-17-32t82p.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=394&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">The recreation hall at the Training Unit.</span>
<span class="attribution"><span class="source">Department of Justice|Louise Brangan</span>, <a class="license" href="http://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC-ND</a></span>
</figcaption>
</figure>
<h2>The damage prison causes</h2>
<p>The temporary release system still operates today, though in a much more restricted form. As Ireland changed, so too did public and political attitudes. </p>
<p>By the 1990s, it was felt that prisons in Ireland should do a little more confining and a little less releasing. In 1995, 21% of prisoners served their sentence on temporary release, that figure has now dropped to <a href="https://www.irishprisons.ie/wp-content/uploads/documents_pdf/SEPTEMBER-2023.pdf">9%</a>. </p>
<p>In the decades since these innovative regimes were instituted, a formidable body of research has amassed, <a href="https://www.frontiersin.org/articles/10.3389/fpsyg.2015.00043/full">proving</a> that the Prison Division’s scepticism of imprisonment’s benefits was well founded. </p>
<p>Being deprived of liberty and cut off from society puts a person at greater risk of poor mental health, homelessness and poverty after imprisonment. It also contributes, as research <a href="https://archive2021.parliament.scot/S4_JusticeCommittee/Inquiries/Dr_Lesley_Graham.pdf">in Scotland</a> has found, to a greater risk of dying prematurely.</p>
<p>Prison officials in the 1960s and 1970s saw incarceration as inescapably repressive – a site of harm for individuals, their communities and the wider society. Their bold new policies (open facilities; the temporary release scheme) sought to reduce the use and impact of the prison. The Irish Prison Division thought the prison was the problem, not the prisoners. </p>
<p>Limerick’s new women’s unit embodies the opposite idea: that prison can fix damaged prisoners and help reduce crime, all while expanding the size of the prison estate. </p>
<p>The Prison Division was right. Humane penal policy has to be about much more than buildings, design and physical spaces. Using incarceration sparingly – cautiously, leniently – is better for individuals and society at large.</p><img src="https://counter.theconversation.com/content/208260/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>In the course of her research, Louise Brangan has received funding from the ESRC, Fulbright Commission, British Academy and Leverhulme.</span></em></p>In the mid-20th century, civil servants in Ireland recognised the harms incarceration wreaks not just on individuals but their families and society at large.Louise Brangan, Chancellor's Fellow | Senior Lecturer, University of Strathclyde Licensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/2117852023-10-04T12:33:32Z2023-10-04T12:33:32ZChina’s WeChat is all-encompassing but low-key − a Chinese media scholar explains the Taoist philosophy behind the everything app’s design<figure><img src="https://images.theconversation.com/files/550452/original/file-20230926-21-fsn084.jpg?ixlib=rb-1.1.0&rect=0%2C0%2C8256%2C5499&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">WeChat aims to be everything to everyone but remain mostly in the background.</span> <span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/chinese-customer-uses-his-mobile-to-pay-via-a-qr-code-with-news-photo/1228585197">Kevin Frayer/Getty Images</a></span></figcaption></figure><p>Elon Musk’s vision of <a href="https://twitter.com/elonmusk/status/1577428272056389633?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1577428272056389633%7Ctwgr%5E98798ba97e9df0d4da1bbfab8889c32d547b76a4%7Ctwcon%5Es1_c10&ref_url=https%3A%2F%2Fwww.zdnet.com%2Farticle%2Fwhat-is-elon-musks-x-the-everything-app%2F">Twitter, now rebranded as X, as an
“everything app”</a> is no secret. When <a href="https://theconversation.com/why-dunkin-and-lego-rebrands-succeeded-but-x-missed-the-mark-210432">the X logo replaced Twitter’s blue bird</a>, the internet <a href="https://www.nbcnews.com/tech/social-media/elon-musk-x-twitter-everything-app-rcna96068">buzzed with heated discussions</a> about just what it would mean for X to be an everything app.</p>
<p>Musk promoted his super app project by referring to the <a href="https://www.theguardian.com/media/2023/jul/29/elon-musk-wechat-twitter-rebranding-everything-app-for-west">Chinese all-in-one app WeChat</a>. But for many American users unfamiliar with WeChat, a train of questions followed. What’s it like to use WeChat? How has WeChat become “everything” in China? Would it be possible to replicate the app’s success <a href="https://theconversation.com/elon-musk-aims-to-turn-twitter-into-an-everything-app-a-social-media-and-marketing-scholar-explains-what-that-is-and-why-its-not-so-easy-to-do-211023">in the U.S.</a>?</p>
<p>I’m <a href="https://ealc.wustl.edu/people/jianqing-chen">a Chinese digital media scholar</a>, and I’ve used WeChat since 2012. But, in contrast to Musk’s enthusiasm, I don’t think WeChat is something to write home about. I believe it’s ordinary rather than special, lacking distinctive features compared with the other popular apps I studied for my current book project about Chinese touchscreen media. </p>
<p>WeChat’s inconspicuousness on my phone screen is no accident. Although WeChat is an everything app in the sense of being a digital hub for over a billion users, the app’s design is intentionally grounded in a more nuanced and philosophical meaning of the word “everything” than you might expect.</p>
<h2>WeChat is an all-inclusive media ecosystem</h2>
<p>Launched in 2011, <a href="https://journals.sagepub.com/doi/10.1177/01634437221128937">WeChat</a> has become an all-in-one app that offers services covering most aspects of everyday life, from instant messaging and mobile payments to photo- and video-sharing social networking. It has become a staple of daily activities for <a href="https://www.statista.com/statistics/255778/number-of-active-wechat-messenger-accounts/">1.3 billion Chinese mobile users</a>.</p>
<p>WeChat is also the app that China-bound travelers can download if they want to install only one app. WeChat can help you fill out customs declaration forms, call a taxi, pay for your hotel room and order food. Without WeChat, <a href="https://www.scmp.com/business/banking-finance/article/3037446/foreigners-life-beijing-without-access-alipay-or-wechat">a traveler in China would be like a fish out of water</a>, since everything in China now runs through smartphone screens and mobile payment platforms.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/550456/original/file-20230926-17-zx53w2.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="A smart phone screen displaying a messaging app with Chinese text" src="https://images.theconversation.com/files/550456/original/file-20230926-17-zx53w2.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/550456/original/file-20230926-17-zx53w2.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/550456/original/file-20230926-17-zx53w2.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/550456/original/file-20230926-17-zx53w2.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/550456/original/file-20230926-17-zx53w2.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/550456/original/file-20230926-17-zx53w2.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/550456/original/file-20230926-17-zx53w2.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">A smartphone displays WeChat’s group-messaging function.</span>
<span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/environmental-protection-volunteer-zhou-yuqing-organizes-a-news-photo/1244511282">Ou Dongqu/Xinhua via Getty Images</a></span>
</figcaption>
</figure>
<p>In this sense, WeChat is indeed an everything app. Its “everythingness” refers to its near omnipresence and omnipotence in everyday life. The app creates an all-encompassing and ever-expanding media ecosystem that influences users’ daily activities. It forms a gigantic digital hub that, as German philosopher and media theorist <a href="https://www.wiley.com/en-us/In+the+World+Interior+of+Capital%3A+Towards+a+Philosophical+Theory+of+Globalization-p-9780745647685">Peter Sloterdijk once described</a>, “has drawn inwards everything that was once on the outside.” </p>
<p>This “everythingness” leaves little room for rival companies to achieve similar dominance and turns every tap or swipe on a user’s smartphone into something a big tech company can profit from. This dream of an internet empire is perhaps what is <a href="https://www.nytimes.com/2023/07/27/technology/elon-musk-x-everything-app.html">so enticing for tech leaders like Musk</a>.</p>
<h2>A counterintuitive design philosophy</h2>
<p>Despite WeChat’s status as an everything app, it’s one of the least notable and attractive apps on my smartphone. WeChat rarely changes its logo to celebrate holidays or sends admin notifications to users. The app forms a relatively closed social space, since WeChat users can see only what their contacts post, unlike apps like <a href="https://www.nytimes.com/2018/11/19/fashion/china-social-media-weibo-wechat.html">Weibo</a> or <a href="https://www.theatlantic.com/technology/archive/2022/11/tiktok-instagram-video-feeds-ai-algorithm/672002/">TikTok</a>, where celebrities amass millions of followers. </p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/550501/original/file-20230927-15-rfh3br.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="graphic of a small figure of a person against a large moon-like orb" src="https://images.theconversation.com/files/550501/original/file-20230927-15-rfh3br.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/550501/original/file-20230927-15-rfh3br.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=959&fit=crop&dpr=1 600w, https://images.theconversation.com/files/550501/original/file-20230927-15-rfh3br.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=959&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/550501/original/file-20230927-15-rfh3br.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=959&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/550501/original/file-20230927-15-rfh3br.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1205&fit=crop&dpr=1 754w, https://images.theconversation.com/files/550501/original/file-20230927-15-rfh3br.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1205&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/550501/original/file-20230927-15-rfh3br.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1205&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">WeChat’s splash screen is visually clean and has been unchanged for a decade.</span>
<span class="attribution"><span class="source">Screen capture by Jianqing Chen</span></span>
</figcaption>
</figure>
<p>But the lack of flashy, attention-grabbing features is actually one of WeChat’s intentional design philosophies, as WeChat’s founder and chief developer Allen Xiaolong Zhang made clear in his <a href="https://blog.wechat.com/2019/03/18/what-is-wechats-dream-wechat-founder-allen-zhang-explains/">annual public speeches in 2019 and 2020</a>. Zhang emphasized that one of WeChat’s design principles is to “get users out of the app as fast as possible,” meaning to reduce the amount of time users spend in WeChat.</p>
<p>This might seem paradoxical – if WeChat is trying to get its users to leave the app as fast as possible, how can it maintain its internet empire? Typically an app’s popularity is assessed based on how long users spend in the app, and users’ attention is the <a href="https://www.amazon.com/How-Do-Nothing-Resisting-Attention/dp/1612197493">scarce resource</a> various digital platforms fight for. </p>
<p>But Zhang claims that in order to sustain users’ daily engagement with the app in the long run, it’s important to let them leave the app as fast as possible. A low demand for time and effort is key to bringing users back into the app without exhausting them.</p>
<h2>A Taoist message behind WeChat’s design</h2>
<p>The design of <a href="https://chozan.co/blog/wechat-mini-programs/">WeChat miniprograms</a> makes Zhang’s idea clear. Miniprograms are embedded into WeChat as third-party developed sub-applications, and they provide users with easy access to a large range of services – like hailing a taxi, ordering food, buying train tickets and playing games – without leaving WeChat. Users can simply search in the app or scan a QR code to open a miniprogram, skipping the cumbersome processes of installing and uninstalling new apps. </p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/546042/original/file-20230903-23-ebj1at.PNG?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="A screenshot of a smartphone homepage, with round circular apps and text in Chinese" src="https://images.theconversation.com/files/546042/original/file-20230903-23-ebj1at.PNG?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/546042/original/file-20230903-23-ebj1at.PNG?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=1298&fit=crop&dpr=1 600w, https://images.theconversation.com/files/546042/original/file-20230903-23-ebj1at.PNG?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=1298&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/546042/original/file-20230903-23-ebj1at.PNG?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=1298&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/546042/original/file-20230903-23-ebj1at.PNG?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1632&fit=crop&dpr=1 754w, https://images.theconversation.com/files/546042/original/file-20230903-23-ebj1at.PNG?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1632&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/546042/original/file-20230903-23-ebj1at.PNG?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1632&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">WeChat has a panel of miniprograms that users pull down from the top of the screen.</span>
<span class="attribution"><span class="source">Screen capture by Jianqing Chen</span>, <a class="license" href="http://creativecommons.org/licenses/by-nd/4.0/">CC BY-ND</a></span>
</figcaption>
</figure>
<p>Miniprograms are stored in a hidden panel at the top of the screen. They can be opened by swiping down the screen. These miniprograms appear to be ephemeral, diffusive and almost atmospheric. They give users the feeling that WeChat has disappeared or merged into the environment. </p>
<p>WeChat is what media scholars call “<a href="https://press.uchicago.edu/ucp/books/book/chicago/M/bo20069392.html">elemental</a>”: inconspicuous and nonintrusive, yet pervasive and as fundamental as the natural elements, just like air, water and clouds. </p>
<p>This environment of pervasiveness and unobtrusiveness resonates with the ancient Chinese Taoist philosophy that understands nothing (wu 无, or “not-being”) as that which forms the basis of all things (wanwu 万物 or “ten thousand things”). As <a href="https://terebess.hu/english/tao/Addiss-Lombardo-Watson.pdf">Tao Te Ching states</a>, “Dao begets One (or nothingness), One begets Two (yin and yang), Two begets Three (Heaven, Earth and Man; or yin, yang and breath qi), Three begets all things.” For Taoist thinkers, not-being determines how all things within the cosmos come into being, evolve and disappear.</p>
<p>Although the depth of these sagely texts is unfathomable, the Taoist thoughts from the past help people appreciate the interplay of everything and nothing. This perspective adds another layer of meaning to “everything” and opens up alternative visions of what an everything app can be. </p>
<p>Perhaps WeChat’s interpretation of the word “everything” – as simultaneously pervasive and inconspicuous – is the secret to its success over the past 10 years. I believe many tech leaders could benefit from a more sophisticated understanding of “everything” when envisioning the everything app, and not just equate “everything” simply with big and comprehensive.</p><img src="https://counter.theconversation.com/content/211785/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Jianqing Chen does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>The design philosophy of the everything app WeChat may seem paradoxical, being simultaneously pervasive and inconspicuous. But this idea of “everythingness” goes back to ancient Taoist philosophy.Jianqing Chen, Assistant Professor of East Asian Languages and Cultures and of Film and Media Studies, Arts & Sciences at Washington University in St. LouisLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/2137152023-09-25T12:20:30Z2023-09-25T12:20:30Z‘Design of Coffee’ course teaches engineering through brewing the perfect cup of coffee<figure><img src="https://images.theconversation.com/files/549189/original/file-20230919-29-u8o1mb.jpg?ixlib=rb-1.1.0&rect=7%2C21%2C4785%2C3168&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">UC Davis students learn the fundamentals of both engineering and brewing coffee.</span> <span class="attribution"><span class="source">UC Davis</span></span></figcaption></figure><figure class="align-right ">
<img alt="Text saying: Uncommon Courses, from The Conversation" src="https://images.theconversation.com/files/499014/original/file-20221205-17-kcwec8.png?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/499014/original/file-20221205-17-kcwec8.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=375&fit=crop&dpr=1 600w, https://images.theconversation.com/files/499014/original/file-20221205-17-kcwec8.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=375&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/499014/original/file-20221205-17-kcwec8.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=375&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/499014/original/file-20221205-17-kcwec8.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=471&fit=crop&dpr=1 754w, https://images.theconversation.com/files/499014/original/file-20221205-17-kcwec8.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=471&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/499014/original/file-20221205-17-kcwec8.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=471&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
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<span class="caption"></span>
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<p><em><a href="https://theconversation.com/topics/uncommon-courses-130908">Uncommon Courses</a> is an occasional series from The Conversation U.S. highlighting unconventional approaches to teaching.</em> </p>
<h2>Title of course:</h2>
<p>The Design of Coffee: An Introduction to Chemical Engineering</p>
<h2>What prompted the idea for the course?</h2>
<p>In 2012, my colleague professor Tonya Kuhl and I were drinking coffee and brainstorming how to improve our senior-level laboratory course in chemical engineering. Tonya looked at her coffee and suggested, “How about we have the students reverse-engineer a Mr. Coffee drip brewer to see how it works?” </p>
<p>A light bulb went off in my head, and I said, “Why not make a whole course about coffee to introduce lots of students to chemical engineering?” </p>
<p>And that’s what we did. We developed The Design of Coffee as a freshman seminar for 18 students in 2013, and, since then, the course has grown to over 2,000 general education students per year at the University of California, Davis.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/549190/original/file-20230919-25-c9imuf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="A student wearing a flannel shirt uses a white microscope, with a pile of coffee beans and a metal scoop sitting next to them on the table." src="https://images.theconversation.com/files/549190/original/file-20230919-25-c9imuf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/549190/original/file-20230919-25-c9imuf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/549190/original/file-20230919-25-c9imuf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/549190/original/file-20230919-25-c9imuf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/549190/original/file-20230919-25-c9imuf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/549190/original/file-20230919-25-c9imuf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/549190/original/file-20230919-25-c9imuf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">A student uses a microscope to look at coffee beans in The Design of Coffee lab.</span>
<span class="attribution"><span class="source">UC Davis</span></span>
</figcaption>
</figure>
<h2>What does the course explore?</h2>
<p>The course focus is hands-on experiments with roasting, brewing and tasting in our coffee lab. </p>
<p>For example, students measure the energy they use while roasting to illustrate the law of <a href="https://www.britannica.com/science/conservation-of-energy">conservation of energy</a>, they measure how <a href="https://www.sciencedirect.com/topics/nursing-and-health-professions/ph-measurement">the pH of the coffee</a> changes after brewing to illustrate the kinetics of chemical reactions, and they measure how the <a href="https://doi.org/10.1038/s41598-021-85787-1">total dissolved solids</a> in the brewed coffee relates to time spent brewing to illustrate the principle of <a href="https://en.wikipedia.org/wiki/Mass_transfer">mass transfer</a>. </p>
<p>The course culminates in an engineering design contest, where the students compete to make the best-tasting coffee using the least amount of energy. It’s a classic engineering optimization problem, but one that is broadly accessible – and tasty.</p>
<h2>Why is this course relevant now?</h2>
<p>Coffee plays <a href="https://www.smithsonianmag.com/videos/the-history-of-coffee-culture-in-america/">a huge role in culture</a>, <a href="https://doi.org/10.3945/jn.116.233940">diet</a> and <a href="https://www.ncausa.org/Research-Trends/Economic-Impact">the U.S.</a> and <a href="https://icocoffee.org/">global economy</a>. But historically, relatively little academic work has focused on coffee. There are entire academic programs on wine and beer at many major universities, but almost none on coffee. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/549191/original/file-20230919-15-46yjz8.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="A student wearing a black UC Davis sweatshirt holds a glass cup of coffee" src="https://images.theconversation.com/files/549191/original/file-20230919-15-46yjz8.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/549191/original/file-20230919-15-46yjz8.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/549191/original/file-20230919-15-46yjz8.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/549191/original/file-20230919-15-46yjz8.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/549191/original/file-20230919-15-46yjz8.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/549191/original/file-20230919-15-46yjz8.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/549191/original/file-20230919-15-46yjz8.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">Many students who don’t like coffee develop a taste for it over the course of the class.</span>
<span class="attribution"><span class="source">UC Davis</span></span>
</figcaption>
</figure>
<p>The Design of Coffee helps fill a huge unmet demand because students are eager to learn about the beverage that they already enjoy. Perhaps most surprisingly, many of our students enter the course professing to hate coffee, but by the end of the course they are roasting and brewing their own coffee beans at home.</p>
<h2>What’s a critical lesson from the course?</h2>
<p>Many students are shocked to learn that black coffee can have <a href="https://doi.org/10.1111/1750-3841.16531">fruity, floral or sweet flavors</a> without adding any sugar or syrups. The most important lesson from the course is that engineering is really a quantitative way to think about problem-solving. </p>
<p>For example, if the problem to solve is “make coffee taste sweet without adding sugar,” then an engineering approach provides you with a tool set to tackle that problem quantitatively and rigorously. </p>
<h2>What materials does the course feature?</h2>
<p>Tonya and I originally self-published our lab manual, <a href="https://www.amazon.com/Design-Coffee-Engineering-Approach/dp/B09FSCDY18">The Design of Coffee: An Engineering Approach</a>, to keep prices low for our students. </p>
<p>Now in its third edition, it has sold more than 15,000 copies and has been translated to <a href="https://www.amazon.com/dise%C3%B1o-del-caf%C3%A9-aproximaci%C3%B3n-ingenier%C3%ADa/dp/B08TQ42NS2/">Spanish</a>, with Korean and Indonesian translations on the way.</p>
<h2>What will the course prepare students to do?</h2>
<p>Years ago, a student in our class told the campus newspaper, “I had no idea there was an engineering way to think about coffee!” Our main goal is to teach students that there is an engineering way to think about anything. </p>
<p>The engineering skills and mindset we teach equally prepare students to design a multimillion-dollar biofuel refinery, a billion-dollar pharmaceutical production facility or, most challenging of all, a naturally sweet and delicious $3 cup of coffee. Our course is the first step in preparing students to tackle these problems, as well as new problems that no one has yet encountered.</p><img src="https://counter.theconversation.com/content/213715/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>William D. Ristenpart receives funding from the National Science Foundation, the Coffee Science Foundation, and the Specialty Coffee Association. </span></em></p>In an engineering course at UC Davis, students learn all the nuances that go into brewing ‘a truly excellent cup of coffee.’William D. Ristenpart, Professor of Chemical Engineering, University of California, DavisLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/2130912023-09-14T16:15:15Z2023-09-14T16:15:15ZAsymmetrical bridges, timber towers and a repurposed gas platform: awards hail 2023’s best structures<p>The 2023 Structural Awards, hosted by the Institution of Structural Engineers, has unveiled <a href="https://www.istructe.org/structural-awards/shortlist/2023-shortlist/">its shortlist</a> of the world’s 35 most outstanding building projects. </p>
<p>Aimed at highlighting technical innovation, the featured structures comprise seven bridges, two footbridges, three stadiums and one football stadium stand, redevelopments, new builds, malls, museums, community hubs, a college and a school. They also include a retired gas platform transformed into an art installation and Stufish Entertainment Architects’ <a href="https://www.archdaily.com/983752/abba-arena-stufish-entertainment-architects">Abba Arena</a>, a venue custom-built in London’s Queen Elizabeth Olympic Park, to house the Swedish band’s Voyage concert. </p>
<p>The prize has a global remit, featuring entrants from Canada and China to New Zealand, Niger and the Netherlands. Of the 35 shortlisted structures, however, 16 are in London. These include <a href="https://news.sky.com/story/big-ben-is-back-telling-the-time-and-the-bongs-will-soon-ring-out-again-12618628">the £80 million renovation</a> of Big Ben and the redevelopment of the grade-II listed <a href="https://www.dezeen.com/2022/10/05/battersea-power-station-opens-wilkinson-eyre/">Battersea power station</a> by the WilkinsonEyre architecture studio. </p>
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<p>Since 2022, the judging process has put ever greater emphasis on the environmental impact of the buildings, the social value they provide and the effect they have on the people who use them. </p>
<p>The need to promote sustainability within architecture and construction is gaining ground, as <a href="https://theconversation.com/lacaton-and-vassal-how-this-years-pritzker-prize-could-spark-an-architectural-revolution-157636">recent</a> Pritzker prize <a href="https://theconversation.com/diebedo-francis-kere-how-first-black-winner-of-architectures-top-prize-is-committed-to-building-peaceful-cities-179483">laureates</a>, among other international accolades, show. </p>
<p>I have spent 20 years <a href="https://eng.ox.ac.uk/people/barbara-rossi/">researching</a> sustainability and resilience within the construction sector. Here are four highlights from the shortlist that show why this matters.</p>
<h2>Battersea power station</h2>
<p>To preserve this <a href="https://doi.org/10.1016/0957-1272(91)90048-J">cultural icon</a>, engineering firm Buro Happold deployed structural engineering prowess and creative solutions. The <a href="https://www.burohappold.com/projects/battersea-power-station-building-works/#">2,495,000 sq ft</a> building has been refurbished to include more than 250 apartments, restaurants, shops, cinemas, offices, and an entertainment venue. </p>
<p>The building posed significant challenges. First, at foundation level, there were obstructions and deep geological scour hollows that created significant risk when combining the new structures with those already in place. The firm also worked hard to restore the external fabric of the building to maximise its reuse. Fire risk management also posed a big challenge – it is always highly complex in this kind of mixed-use building, especially since the Grenfell Tower fire.</p>
<p>Of particular note are the elegant tree structures used to carry an unprecedented load. They are composed of four curved, V-shaped branches. Each weighs 43 tonnes and supports six column lines from the commercial space above, transferring their load into the foundation. This minimises the footprint of the structure, ensuring the impressive space of the north atrium remains open. </p>
<h2>The Black and White Building</h2>
<p>Located in Shoreditch, London, this multi-storey new-build office block is designed by the engineering firm Eckersley O'Callaghan. It is central London’s tallest mass timber office structure and has already netted the firm the Architectural Review Future Projects Award for Best Office in 2022 and been shortlisted for the Construction News Awards low carbon project of the year in 2023. </p>
<p>The building is comprised of a reinforced concrete substructure (below ground level) beneath a timber superstructure. The latter includes the staircases and, most unusually, the core, which enable the designers to achieve a <a href="https://doi.org/10.1016/j.buildenv.2022.109320">lower embodied carbon</a> score. Most massive timber buildings have a concrete core, which increases their embodied carbon, thereby defeating the purpose of using timber in the first place. </p>
<p>Eckersley O'Callaghan also created unusually long spans (up to 10 metres between internal columns) and, in the facade, used steel cross-bracing to provide support against what construction specialists term <a href="http://web.mit.edu/4.441/1_lectures/1_lecture18/1_lecture18.html">“lateral loads”</a> (the horizontal forces applied to a structure, by things like wind).</p>
<h2>The Youshui Bridge</h2>
<p>Designed by architect Wen Wanqing and structural designer Yan Aiguo for the China Railway Siyuan Survey and Design Group, this is an awe-inspiring railway bridge in Furong Town, China. It is essentially a giant, <a href="https://www.icevirtuallibrary.com/doi/10.1680/jbren.19.00016">asymmetrical</a> arch, the north foundation of which sits 48.4m higher than the south foundation. </p>
<p>The structure is made of a concrete-filled steel tubular truss and spans 292 meters across the Youshui river valley. This is very rare, especially over a gorge, which only makes construction harder. </p>
<p>Concrete arches will typically span over anything up to 200m. Above that, steel (or concrete combined with steel) has to be employed. The construction process was a feat of engineering: it involved building a 865m highline to transport elements of the truss. </p>
<h2>The Marisfrolg Fashion Apparel Campus</h2>
<p>Designed by the Architecture Van Brandenburg studio for a fashion company in Shenzen, China, this curved building has already garnered awards for lighting design, among other things. It uses a notable mix of materials in an intricate composition of concrete shells, covered with a carapace of bricks, stone and ceramics. It really looks like the feather of a cretaceous bird just landing on the ground. </p>
<p>Structurally speaking, concrete shells are extremely challenging structures, both to calculate and to build. The designers must have used extensive <a href="https://www.icevirtuallibrary.com/doi/book/10.1680/fedcs.41899#:%7E:text=Finite%2Delement%20Design%20of%20Concrete%20Structures%2C%20Second%20edition%2C%20is,with%20the%20aid%20of%20computers.">finite element modelling</a> (a numerical approach that involves breaking down a problem into many smaller parts). And they would have needed complex <a href="https://www.eca.ed.ac.uk/research/rethinking-concrete-formwork">“formwork”</a>, that is, moulds, as well as high-quality concrete. </p>
<p>In terms of sustainability, however, despite the studio’s claims that the roof of the pavilion is clad in recycled materials and that bamboo was used for the concrete formwork, in the concrete structure itself, it appears that only Portland cement was used. It is difficult to rule, therefore, on the project’s actual sustainability credentials.</p>
<p>Winners will be announced on November 10 2023. The hope for such awards, of course, is that they will continue to promote sustainability within structural engineering. </p>
<p>The question, though, is whether even more stringent criteria should not be considered. The Institution of Structural Engineers offers a course to design net-zero structures. Imagine the impact this institution might have if it were to restrict the award to net-zero projects only.</p><img src="https://counter.theconversation.com/content/213091/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Barbara Rossi receives funding from The European Commission (Marie Skłodowska-Curie Actions). </span></em></p>The 35 shortlisted structures from around the world showcase engineering ingenuity and big ideas for making construction more sustainable.Barbara Rossi, Associate Professor and Tutorial Fellow in Engineering Science (Structures & Mechanics), University of OxfordLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/2110102023-09-13T12:29:41Z2023-09-13T12:29:41ZShelters can help homeless people by providing quiet and privacy, not just a bunk and a meal<figure><img src="https://images.theconversation.com/files/547349/original/file-20230910-21-o3aq3b.jpg?ixlib=rb-1.1.0&rect=21%2C28%2C4745%2C3258&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">As July temperatures soared to triple digits, hundreds of homeless people lived on the street outside Phoenix's largest shelter.</span> <span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/in-an-aerial-view-people-walk-through-a-section-of-the-the-news-photo/1573445837">Mario Tama/Getty Images</a></span></figcaption></figure><p>The city of Phoenix set heat records in summer 2023, with high temperatures that topped 110 degrees Fahrenheit (43 degrees Celsius) for <a href="https://www.npr.org/2023/08/01/1191238086/phoenix-ends-31-day-streak-of-highs-at-or-above-110-degrees-by-reaching-108">31 consecutive days</a> and <a href="https://www.theguardian.com/us-news/2023/sep/09/phoenix-breaks-heat-record-as-city-hits-110f-for-the-54th-consecutive-day">at least 54 days in total</a>. In such conditions, providing basic services – including cool spaces – for people experiencing homelessness is lifesaving. </p>
<p>In 2022, 420 people – many of them unsheltered – <a href="https://www.npr.org/2023/07/09/1186694722/as-heat-threatens-phoenixs-homeless-city-is-under-pressure-to-move-large-encampm">died in Phoenix from heat-related causes</a>. Estimates are not yet available for summer 2023, but given this year’s extreme conditions, the toll is expected to be higher. </p>
<p>For the past two years, we have worked as researchers with the <a href="https://hsc-az.org/">Human Services Campus</a>, a 13-acre complex in Maricopa County, Arizona, where 16 nonprofit organizations work together to help people who are experiencing homelessness. The campus includes <a href="https://www.cassaz.org">Central Arizona Shelter Services</a>, or CASS, Phoenix’s largest homeless emergency shelter, which assists 800 people experiencing homelessness on any given night. </p>
<p>Our work includes talking with staff and clients to better understand their challenges and identify possible solutions that draw from our work in the fields of <a href="https://www.researchgate.net/scientific-contributions/Natalie-Florence-2230988387">architecture</a>, <a href="https://scholar.google.com/citations?user=V2E0rIAAAAAJ&hl=en">health and social innovation</a>. </p>
<p>Dormitories at CASS protect residents from extreme heat with a bunk to sleep in, day rooms for socializing, case management services, and sanitary shower and restroom facilities. But CASS struggles to provide dignified spaces that offer privacy, storage space and quiet environments. People need this kind of environmental support in order to battle recurring physical and mental health issues that often accompany homelessness and can hinder or prevent healing. </p>
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<figcaption><span class="caption">Homelessness spiked in 2023 in major U.S. cities with the end of pandemic eviction moratoriums.</span></figcaption>
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<h2>Overflowing shelters</h2>
<p>As of 2022, the U.S. Department of Housing and Urban Development estimated that the U.S. had nearly 600,000 homeless people nationwide, with about 60% living in emergency shelters, safe havens or transitional housing. The other 40% lived outdoors or in places such as <a href="https://www.huduser.gov/portal/sites/default/files/pdf/2022-ahar-part-1.pdf">abandoned buildings and public transit stations</a>.</p>
<p>Homeless centers must conform to <a href="https://www.taylorfrancis.com/chapters/edit/10.4324/9780429279027-2/short-history-homelessness-architectural-responses-yelena-mclane">architectural standards for emergency shelter</a>. These standards have historically been influenced by institutional building design, which prioritizes attaining minimum conditions needed to keep people alive. Today, many homeless shelters struggle to provide even that level of care. </p>
<p>The Human Services Campus was originally constructed in 2003 to provide consolidated services and a coordinated entry plan for people experiencing homelessness. However, it was intended to be part of a larger system of shelters, not the sole service provider for Phoenix’s estimated 9,000 homeless people. </p>
<p>The city’s homeless population has grown, in part because of <a href="https://www.azcentral.com/story/money/real-estate/catherine-reagor/2022/01/09/investors-pay-record-prices-metro-phoenix-apartments-rents-rise/9108972002/">unprecedented rent increases</a> and a <a href="https://des.az.gov/sites/default/files/dl/2022-Homelessness-Annual-Report.pdf?time=1691606062005">lack of affordable housing</a>. During this summer’s heat wave, <a href="https://www.goldwaterinstitute.org/a-wasteland-of-corpses-living-and-dead-a-devastating-inside-look-at-phoenixs-homeless-zone/">nearly 1,200 unsheltered homeless people</a> lived on sidewalks surrounding the campus, many in tents, with limited access to bathrooms and sanitation facilities.</p>
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<h2>Homelessness and mental health</h2>
<p>When asked about causes of homelessness, policymakers and members of the public often point to <a href="https://bipartisanpolicy.org/blog/us-opinions-homelessness-poll/">mental illness and addiction</a>, as well as a <a href="https://homelesslaw.org/wp-content/uploads/2018/10/Homeless_Stats_Fact_Sheet.pdf">lack of affordable housing</a>. They tend to pay less attention to the underlying impacts of past trauma other than noting that many women become homeless to <a href="https://homelesslaw.org/wp-content/uploads/2018/10/Homeless_Stats_Fact_Sheet.pdf">escape domestic violence</a>.</p>
<p>In a 2005 study, an alarming 79% of homeless women seeking treatment for mental illness and substance abuse reported experiencing a past traumatic event such as <a href="https://doi.org/10.1016/j.jsat.2004.08.009">physical or sexual abuse</a>. More recently, a 2020 study showed that nearly two-thirds of homeless women and almost half of homeless men reported that they were homeless <a href="https://doi.org/10.1080/10530789.2020.1852502">because of trauma</a>. Shelter design can affect homeless people’s ability to recover from past trauma and to battle addiction and other mental health issues that perpetuate cycles of homelessness. </p>
<p>For example, one woman who currently lives in CASS told us about trying to get a full night’s sleep while living in a day room where the lights were kept on around the clock and there was constant activity. Because she had several bags of personal items that were too big to store in the dormitory, she could not get a bed there. </p>
<p>“When they don’t turn the lights down at night, I start to feel like my body is vibrating,” she said. “I start to see people walking around, and I’m not sure if they are even really there.” </p>
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<figcaption><span class="caption">Brandi Tuck, founding executive director of Portland Homeless Family Solutions in Oregon, explains how trauma-informed design can transform shelters.</span></figcaption>
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<p>Routinely sleeping less than seven hours per night can be <a href="https://doi.org/10.5665/sleep.4716">harmful to health</a>. It lowers immune function, increases chronic pain and raises the risk of heart disease, high blood pressure, diabetes, stroke and death. For homeless people battling mental health challenges, addiction and past trauma, rest and recovery are essential to getting back on their feet. </p>
<p>CASS staff have tried to create healthier sleep spaces, such as dorms that remain dark, quiet and cool at all times. Priority access goes to people with jobs. These sections can house only about a third of CASS’s residents, leaving others to sleep in dorms where there is more noise and light.</p>
<h2>More supportive spaces</h2>
<p>Simply feeding people and providing them with places to sleep is a major challenge for shelters in cities where homelessness is rising. But some have found ways to think more broadly.</p>
<p>In San Diego, <a href="https://my.neighbor.org/about-us/">Father Joe’s Villages</a>, a nonprofit network with a central campus and scattered-site programs, houses more than 2,000 people nightly. San Diego’s more temperate climate makes it less urgent to maximize the number of people they shelter indoors, so staff at Father Joe’s can use its decentralized design to create shelters with private and quiet spaces. </p>
<p>The Father Joe’s network includes multiple smaller-scale facilities where clean bathrooms are easily accessible and homeless people can use basic amenities like laundry and storage. One example is Mary’s Place, a collection of diverse shelters that provides emergency and long-term support in smaller facilities modeled after the simplicity and comfort of a home. </p>
<p>People experience less stress and can more easily navigate the challenge of ending their own homelessness when they can get a restful night’s sleep in a quiet environment, with spaces that allow them some privacy. We are encouraged to see other U.S. shelters <a href="https://www.theguardian.com/us-news/2023/jun/26/us-homeless-shelters-redesign">moving in this direction</a> – but there’s a long way to go.</p>
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<a href="https://images.theconversation.com/files/547454/original/file-20230911-7318-b3mmo6.png?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="A man sits on a bed in a large room divided into individual spaces with low partitions. His area has storage compartments with locks and a skylight provides daylight." src="https://images.theconversation.com/files/547454/original/file-20230911-7318-b3mmo6.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/547454/original/file-20230911-7318-b3mmo6.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=445&fit=crop&dpr=1 600w, https://images.theconversation.com/files/547454/original/file-20230911-7318-b3mmo6.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=445&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/547454/original/file-20230911-7318-b3mmo6.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=445&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/547454/original/file-20230911-7318-b3mmo6.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=559&fit=crop&dpr=1 754w, https://images.theconversation.com/files/547454/original/file-20230911-7318-b3mmo6.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=559&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/547454/original/file-20230911-7318-b3mmo6.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=559&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">This homeless shelter in Wilmington, Calif., a neighborhood of Los Angeles, provides residents with natural daylight, storage and privacy.</span>
<span class="attribution"><span class="source">Natalie Florence</span>, <a class="license" href="http://creativecommons.org/licenses/by-nd/4.0/">CC BY-ND</a></span>
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<h2>Steps toward better design</h2>
<p>To address the lack of privacy at CASS, we have proposed subdividing the day room into more private spaces to accommodate activities like online telehealth appointments, counseling and job interviews. To tackle long-term impacts of overcrowding, we also have recommended introducing sanitation amenities, such as laundry facilities, “<a href="https://tessa2.lapl.org/digital/collection/COVID-19/id/296/">hot boxes</a>” to sanitize clothing and bedding, more bathroom facilities and reliable trash removal to reduce the spread of infection and pests such as bedbugs and lice. </p>
<p>For new facilities, designers could consider small changes, such as increased storage and more diligent regulation of temperature, light and noise. </p>
<p>Hospitals, nursing homes and <a href="https://generations.asaging.org/trauma-informed-practices-elder-care">retirement communities</a> have found many ways in recent decades to use design to <a href="https://blogs.cdc.gov/publichealthmatters/2022/05/trauma-informed/">support patients’ health</a>. Many of the same concepts can be applied to emergency shelters and help turn these facilities from institutional warehouses into spaces of health and opportunity.</p><img src="https://counter.theconversation.com/content/211010/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Heather Ross receives funding from the Arizona Alzheimer's Consortium and Public Interest Technology - University Network. She is affiliated with the Arizona Democratic Party and multiple healthcare professional organizations including American Nurses Association, American Association of Nurse Practitioners, and American College of Cardiology. </span></em></p><p class="fine-print"><em><span>Natalie Florence does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>As US cities struggle to reduce homelessness, two scholars explain how planners can reform shelter design to be more humane and to prioritize mental health and well-being.Natalie Florence, PhD Candidate in Humanitarian Design and Infrastructure Studies, Arizona State UniversityHeather Ross, Clinical Associate Professor in Nursing and Clinical Associate Professor, School for the Future of Innovation in Society, Arizona State UniversityLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/2115172023-08-16T20:04:50Z2023-08-16T20:04:50Z‘The first designers and models of this world’: attending the 2023 National Indigenous Fashion Awards<p>The Darwin winter sunset encircled the city with a brilliant gold. As the crowd anticipated the start of the annual Indigenous fashion parades, the room turned dark, and a lone figure appeared. </p>
<p>As the first model walked, the crowd cheered, excited to see the show they had waited a year to attend. </p>
<p>Throughout two shows, Our Legacy and Our Heart, First Nations models of diverse ages and sizes almost outshone the striking garments they wore. </p>
<p>Designs from 22 labels and collaborations represented the heart and soul of the designers, artists and makers, many who journeyed very long distances for the opportunity to tell their stories through fashion design and art.</p>
<p>The Darwin Aboriginal Art Fair has concluded for another year with more than 70 exhibitors and a successful fashion program. The Indigenous Fashion Projects festival grows in size and quality every year, showing the potential for First Nations fashion – like art and music – to become defining features of Australian life.</p>
<p>Yet beyond the lights, makeup and action, people in the First Nations fashion industry just want their voices to be heard. They see their contributions to fashion, textile design and modelling as contributing to cultural tradition, economics and cultural sustainability, and blak pride and storytelling. </p>
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<a href="https://theconversation.com/cultural-expression-through-dress-towards-a-definition-of-first-nations-fashion-201782">‘Cultural expression through dress’: towards a definition of First Nations fashion</a>
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<h2>Cultural tradition</h2>
<p>The day after the parades, the annual National Indigenous Fashion Awards were held in the beautiful open air. This also provided a moving ceremony as we celebrated the work of 66 First Nations artists, designers and collaborators. </p>
<p>Nearly all the winners referred to the ongoing and living cultural traditions that inform their work, generally framed as female and working with and learning from Elders.</p>
<p>“All those old ladies have passed away but they’re still holding us up,” said a representative from <a href="https://ikuntji.com.au/">Ikuntji Artists</a>. “Their spirit is still strong and walks with us. Thanks for loving our designs and stories because we know they’re still here with us.”</p>
<p>Fashion designer of the year, Wiradjuri, Gangulu and Yorta Yorta woman <a href="https://lillardiabriggshouston.com">Lillardia Briggs-Houston</a>, told the audience: “I am what I am because of my grandmother and grandfather.”</p>
<p>Through both textile and art making, First Nations fashion designers are continuing the unbroken chain of practice that has existed since time immemorial. This was seen on textile designs referencing <a href="https://www.instagram.com/p/Cvt9LCEvGwt/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA==">animals</a> to the construction of exquisite headpieces and jewellery using <a href="https://www.instagram.com/p/CvyLuV8hcwn/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA==">shells and stones</a>.</p>
<h2>Economics and cultural sustainability</h2>
<p>Many winners spoke about the economic opportunities afforded by the fashion industry. Selling fashion and textiles supports “money business”, permitting the makers and designers to remain on Country and continue practising culture while taking their work to audiences around Australia.</p>
<p>Economic opportunities are underpinned by cultural sustainability. <a href="https://gapuwiyak.com.au/">Gapuwiyak Culture and Arts</a> with <a href="https://alydegroot.com.au/">Aly de Groot</a> won both the traditional adornment and community collaboration awards for their work in recreating fibre work from an anthropological photograph. They noted how the 19th century women and their work even looked like models lined up on a catwalk.</p>
<p>The need for fashion design and creative training opportunities on Country was emphasised by Briggs-Houston. As she noted, fashion work – pattern cutting, design adjustments, sewing and embellishment – was traditionally women’s work, conducted at home, but no one felt they were a designer, let alone a brand ambassador. </p>
<p>Briggs-Houston studied fashion at TAFE and learnt from her knowledgeable grandmother:</p>
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<p>We were always the seamstress but never the designer back then. Now I dedicate my life to cultural sustainability through fashion. </p>
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<p>One challenge facing emerging First Nations designers is access. The best fashion schools are concentrated in expensive metropolitan centres. Some students must drive all day to reach TAFE. </p>
<p>Fashion is a complex business. It combines designing, making, marketing, branding, photography, styling, and formats from conventional parades to newer fashion films. How to even touch on these skills and make them accessible? </p>
<p>Several First Nations fashion organisations, such as <a href="https://www.ifp.org.au/about/">Indigenous Fashion Projects</a>, <a href="https://firstnationsfashiondesign.com">First Nations Fashion + Design</a> and <a href="https://www.mobinfashion.com.au/">Mob in Fashion</a> are helping via in-person, online and mentoring experiences.</p>
<h2>Blak pride and storytelling</h2>
<p>The Indigenous Fashion Projects festival of events was filled with an assertion of pride and storytelling, as well as a re-configuring of the that idea that fashion is Western and European. </p>
<p>As Northern Territory Arts Minister Chansey Paech (Arrernte/Gurindji) said at the awards, when you buy First Nations fashion “you are buying someone’s story, someone’s connection, someone’s truth”. </p>
<p>The parade and the awards ceremony are always tinged with the modesty of many of the participants. Many live in remote communities and are unused to the spotlight. </p>
<p>As their achievements were listed and screened through beautiful short films about their Country and making (made for NITV broadcast), the audience applause saw them swell with shared confidence. Hayley Dodd from Ikuntji Artists declared when accepting the business achievement award, “We are black. And we are deadly.” </p>
<p>With Australia soon to be deciding on the Voice to Parliament, it is timely to reflect on how much has been achieved with so little financial resources or mainstream power. What might we achieve as a nation if all our peoples are supported, financed and also recognised?</p>
<p>As Paech concluded and reminded us: “First Nations fashion excellence began small. It’s about creativity, excellence and pride. [We are] the first designers and models of this world.”</p>
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Read more:
<a href="https://theconversation.com/how-indigenous-fashion-designers-are-taking-control-and-challenging-the-notion-of-the-heroic-lone-genius-121041">How Indigenous fashion designers are taking control and challenging the notion of the heroic, lone genius</a>
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<img src="https://counter.theconversation.com/content/211517/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Peter McNeil was grateful for a small UTS internal grant to support travel to Larrakia Country.</span></em></p><p class="fine-print"><em><span>Treena Clark has received funding through the University of Technology Sydney Chancellor’s Indigenous Research Fellowship scheme.</span></em></p>People in the First Nations fashion industry see their work contributing to cultural tradition, economics and cultural sustainability, and blak pride and storytelling.Peter McNeil, Distinguished Professor of Design History, UTS, University of Technology SydneyTreena Clark, Chancellor’s Postdoctoral Indigenous Research Fellow, Faculty of Design, Architecture and Building, University of Technology SydneyLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/2104322023-07-28T12:20:50Z2023-07-28T12:20:50ZWhy Dunkin’ and Lego rebrands succeeded – but X missed the mark<figure><img src="https://images.theconversation.com/files/539836/original/file-20230727-78107-9s5n36.jpg?ixlib=rb-1.1.0&rect=177%2C0%2C1833%2C1315&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">So far, Twitter's rebrand = X + why?</span> <span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/longexposure-shot-shows-both-old-and-new-version-of-twitter-news-photo/1553537563?adppopup=true">Lorenzo Di Cola/NurPhoto via Getty Images</a></span></figcaption></figure><p>Twitter has swapped the <a href="https://apnews.com/article/twitter-x-logo-blue-bird-musk-0689e9a5c3a217afc2fbefeaf0e6d8a8">fluffy bird that used to symbolize the social media platform</a> for a spindly black X. Ditching the company’s well-known logo and changing its name to a letter often <a href="https://symbolsage.com/x-symbol-meaning-symbolism/">associated with danger, death and the unknown</a> is only the <a href="https://www.cnn.com/2022/12/18/tech/twitter-ban-social-media-links">latest user-aggravating</a> step <a href="https://www.theverge.com/2022/10/30/23431931/twitter-paid-verification-elon-musk-blue-monthly-subscription">CEO Elon Musk has taken</a> since he bought Twitter in <a href="https://apnews.com/article/elon-musk-twitter-deal-live-updates-78d68790fb0b9971d6e65b76d97e3670z">October 2022 for US$44 billion</a>.</p>
<p>But it’s the most visually jarring one.</p>
<p>The <a href="https://www.wsj.com/articles/elon-musks-pivot-to-x-draws-strong-opinions-across-twitter-5bc80833">reaction has mainly been a mix of ambivalence</a>, <a href="https://www.newsweek.com/elon-musks-twitter-x-logo-plan-met-ridicule-jokes-1814750">ridicule</a> and <a href="https://www.cnn.com/2023/07/24/media/twitter-x-reliable-sources/index.html">scorn</a>. For the most part, longtime Twitter users are unhappy at what they perceived as another unnecessary change that’s eroding their enthusiasm for the social media platform. It’s hard to find anybody praising the change so far, except perhaps some of <a href="https://www.facebook.com/elonmuskfanpage/">Elon Musk’s most devoted fans</a>. Twitter co-founder <a href="https://twitter.com/jack/status/1683327575517728769">Jack Dorsey signaled</a> that he was finding the uproar overblown.</p>
<p>I’m paying close attention to this corporate pivot because I’m a scholar of <a href="https://scholar.google.com/citations?user=cXqXHpsAAAAJ&hl=en">design who researches social media and brand campaigns</a>. <a href="https://www.thebrandingjournal.com/2015/10/what-is-branding-definition/">Logos and brand names</a> change all the time and rarely cause this much commotion. But because these changes go deeper than most, I believe the risks of damage to the company are greater.</p>
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<h2>X’s clumsy design</h2>
<p>X might strike you as a weird brand name, and the change may seem to have happened out of the blue, but Musk has long been smitten with the letter.</p>
<p>In 2000, the founders of PayPal <a href="https://www.washingtonpost.com/history/2023/07/25/elon-musk-paypal-twitter-x-rebrand/">ousted him as CEO for trying to change its name</a> to “X,” his Tesla models are <a href="https://www.ndtv.com/world-news/as-twitter-is-named-x-a-look-at-elon-musks-s3xy-naming-strategy-for-cars-4238936">famously named</a> S, 3, X and Y – which displayed together basically spell out the word “SEXY,” and one of <a href="https://www.yahoo.com/entertainment/elon-musk-changed-son-name-204701460.html">his many children is named X on his birth certificate</a>.</p>
<p>I would describe the new logo, <a href="https://www.theguardian.com/technology/2023/jul/24/elon-musk-reveals-the-new-twitter-logo-x">submitted by a Twitter user</a>, as a white-on-black, sans-serif X consisting of two strokes. It’s minimal and modern – and a stark departure from Twitter’s iconic blue-and-white bird. That shade of blue makes you feel <a href="https://www.verywellmind.com/the-color-psychology-of-blue-2795815">calm and serene</a>; black <a href="https://www.oberlo.com/blog/color-psychology-color-meanings">conveys sophistication and mystery</a>.</p>
<p>And yet even people who know nothing about design are <a href="https://twitter.com/elonmuskewl/status/1683121154188247046">poking fun at the logo’s simplicity</a> and <a href="https://twitter.com/PopCrave/status/1683551440416165889">unprofessional execution</a>. To me, the logo looks suitable for a metaverse strip club or a dating app for robots. </p>
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<h2>Facebook’s Meta journey</h2>
<p>Oddball branding is hardly unusual for a big tech company.</p>
<p>When Facebook rebranded itself as Meta in 2021, it was part of a comprehensive, strategic and <a href="https://logo.com/blog/facebooks-new-logo">long-term plan</a>. The transformation signified the company’s aspiration to shift from a social media platform to an enterprise <a href="https://theconversation.com/what-is-the-metaverse-2-media-and-information-experts-explain-165731">focused on the metaverse</a>.</p>
<p>While the goal of a vibrant metaverse <a href="https://blockchainmagazine.net/why-is-metaverse-failing-the-top-10-reasons-for-metaverse-fail/">remains more theoretical than imminent</a>, the rebranding still gave Meta some momentum as it now seeks to <a href="https://qz.com/meta-layoffs-2023-jobs-metaverse-ai-1850196575">shift its focus to artificial intelligence</a>. </p>
<p>Meta’s rebranding highlights the importance of staying relevant and embracing innovation. The company discerned the changing landscape and demonstrated a willingness to adapt in response to shifting consumer needs and preferences. When it realized the metaverse wasn’t materializing, the company focused elsewhere.</p>
<p>Perhaps that openness to trying new things explains why the <a href="https://www.quiverquant.com/threadstracker/">rollout of Threads</a>, Meta’s new competitor for the social media platform formerly known as Twitter, <a href="https://www.forbes.com/sites/rogerdooley/2023/07/05/will-threads-be-a-twitter-killer/">is apparently off to a strong start</a>.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/539648/original/file-20230726-15-7heuat.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="A metal t and a metal w are piled up on the ground." src="https://images.theconversation.com/files/539648/original/file-20230726-15-7heuat.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/539648/original/file-20230726-15-7heuat.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/539648/original/file-20230726-15-7heuat.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/539648/original/file-20230726-15-7heuat.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/539648/original/file-20230726-15-7heuat.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/539648/original/file-20230726-15-7heuat.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/539648/original/file-20230726-15-7heuat.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">A pile of characters removed from a sign on the Twitter headquarters building seen in San Francisco on July 24, 2023.</span>
<span class="attribution"><a class="source" href="https://newsroom.ap.org/detail/TwitterLogo/5a220a8384234fbb86f34740ca413538/photo?Query=twitter&mediaType=photo,video,graphic,audio&sortBy=arrivaldatetime:desc&dateRange=Anytime&totalCount=6881&currentItemNo=6">AP Photo/Godofredo A. Vásquez</a></span>
</figcaption>
</figure>
<h2>From dunking to Dunkin’ and rebuilding Lego’s brand</h2>
<p>When Dunkin’ Donuts trimmed its name to Dunkin’ in 2018, the <a href="https://jkrglobal.com/case-studies/dunkin/">reception was mostly positive</a>. Its customers seemed to get that the company wanted to move away from being closely associated with donuts – a high-calorie pastry with little nutritional value – and toward becoming a “<a href="https://news.dunkindonuts.com/news/releases-20180925">beverage-led, on-the-go brand</a>.”</p>
<p><a href="https://brandsonify.com/case-studies/dunkins-2018-19-rebrand/">That rebrand succeeded</a>, and the company has also stuck with the slogan it adopted a dozen years earlier: “<a href="https://sites.psu.edu/kristenchomosrcl/2019/09/12/america-runs-on-dunkin">America runs on Dunkin’</a>.” </p>
<p><a href="https://www.linkedin.com/pulse/lego-engineered-remarkable-turnaround-its-business-howd-lindstrom/">Lego had another rebranding effort</a> that <a href="https://www.theguardian.com/lifeandstyle/2017/jun/04/how-lego-clicked-the-super-brand-that-reinvented-itself">business school students learn about as a model</a>.</p>
<p>Lego was profitable, popular and beloved for the entire 20th century, but <a href="https://www.lego.com/cdn/cs/aboutus/assets/blte6c97bc4718a1848/Annual_Report_2003_ENG.pdf">around 2003 its sales began to wane</a>. Presumably, kids had too many other toys and digital devices to play with and simply didn’t have the time or patience to assemble small, colorful, plastic blocks anymore.</p>
<p>Undeterred, Lego conducted <a href="https://www.fastcompany.com/3040223/when-it-clicks-it-clicks">extensive market, ethnographic and psychological research</a> to better understand how people in general, and children in particular, play with its wares. The company’s management realized that Lego products can be tied to just about anything.</p>
<p>Lego blocks are used both in original ways – kids make their own creations – and derivative ways, whether it’s recreating a pirate ship or a dinosaur seen in a beloved movie. </p>
<p>So the company began to partner with “Star Wars,” Nintendo, “Jurassic Park” and other brands to market special Lego sets. It also released a movie in 2014 that <a href="https://www.the-numbers.com/movie/LEGO-Movie-The#tab=summary">grossed nearly $500 million</a> – <a href="https://www.bbc.com/news/business-29063790">boosting Lego sales and profits</a>.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/539799/original/file-20230727-15-il508q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="The orange Dunkin' logo see on a big brown building." src="https://images.theconversation.com/files/539799/original/file-20230727-15-il508q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/539799/original/file-20230727-15-il508q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=363&fit=crop&dpr=1 600w, https://images.theconversation.com/files/539799/original/file-20230727-15-il508q.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=363&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/539799/original/file-20230727-15-il508q.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=363&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/539799/original/file-20230727-15-il508q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=457&fit=crop&dpr=1 754w, https://images.theconversation.com/files/539799/original/file-20230727-15-il508q.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=457&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/539799/original/file-20230727-15-il508q.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=457&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">The Dunkin’ brand name and logo no longer includes the word ‘donuts.’</span>
<span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/the-corporate-logo-for-dunkin-replacing-the-former-name-of-news-photo/1195087289?adppopup=true">Gary Hershorn/Getty Images</a></span>
</figcaption>
</figure>
<h2>BP rebrand crashed and burned; American Airlines had low altitude</h2>
<p>Many corporate rebrands either don’t work or don’t do much to help their companies.</p>
<p>In 2000, BP changed its branding <a href="https://www.smsusyd.com/post/bp-rebranding-in-2000-marketing-campaign-fails-2#">from British Petroleum to Beyond Petroleum</a>.</p>
<p>Despite efforts to reposition itself as an environmentally responsible company, its actions revealed a contradictory truth. While BP reportedly invested <a href="https://www.theguardian.com/business/2000/jul/25/bp">over $100 million in the rebranding effort</a>, it continued to spend billions more on oil exploration than renewable energy initiatives. BP abandoned the campaign a few years after its massive <a href="https://www.mmc.gov/priority-topics/offshore-energy-development-and-marine-mammals/gulf-of-mexico-deepwater-horizon-oil-spill-and-marine-mammals/">2010 oil spill in the Gulf of Mexico</a>. </p>
<p>After <a href="https://simpleflying.com/american-airlines-us-airways-merger/">merging with US Airways</a> <a href="https://1000logos.net/american-airlines-logo/">in 2013</a>, American Airlines rebranded away from its iconic 1968 logo, which had blue and red letters and an eagle between them symbolizing American power and ingenuity, to a sleek red-and-blue stripe with an abstract eagle beak separating the company’s colors.</p>
<p>The company called the new logo a “<a href="https://www.dezeen.com/2013/01/21/american-airlines-debuts-new-logo-and-livery/">flight symbol</a>.” Some design experts <a href="https://www.businessinsider.com/the-new-american-airlines-logo-is-a-travesty-2014-1">dubbed it a travesty</a>.</p>
<p>Despite the contention, the company <a href="https://urbanjungle.ca/2013/02/american-airlines-what-you-can-learn-from-a-failing-attempt-to-rebrand/">retained the new look</a>.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/539807/original/file-20230727-24380-h4r1mh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="An airplane emblazoned with the old American Airlines branding at an airport." src="https://images.theconversation.com/files/539807/original/file-20230727-24380-h4r1mh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/539807/original/file-20230727-24380-h4r1mh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=391&fit=crop&dpr=1 600w, https://images.theconversation.com/files/539807/original/file-20230727-24380-h4r1mh.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=391&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/539807/original/file-20230727-24380-h4r1mh.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=391&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/539807/original/file-20230727-24380-h4r1mh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=492&fit=crop&dpr=1 754w, https://images.theconversation.com/files/539807/original/file-20230727-24380-h4r1mh.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=492&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/539807/original/file-20230727-24380-h4r1mh.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=492&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">American Airlines adopted a logo in the late 1960s that endured for decades.</span>
<span class="attribution"><a class="source" href="https://newsroom.ap.org/detail/MiamiAirportTravel/073efb53e9d94d1a8aec20677f11f0fa/photo?Query=american%20airlines%20jet&mediaType=photo,video,graphic,audio&sortBy=arrivaldatetime:desc&dateRange=Anytime&totalCount=369&currentItemNo=213">AP Photo/Lynne Sladky</a></span>
</figcaption>
</figure>
<h2>Ultimate fate of X</h2>
<p>I doubt the X rebrand will succeed – and not just because I dislike the new name and logo.</p>
<p>There are some <a href="https://www.cbsnews.com/news/twitter-trademark-x-com-rebrand/">challenging legal issues</a> with naming a major company a letter of the alphabet. The letter X’s use as a brand is already <a href="https://www.thedailybeast.com/elon-musks-twitter-rebrand-as-x-gets-site-blocked-under-indonesia-porn-laws">banned in certain countries</a> because of its prevalence in pornography branding. </p>
<p>And the <a href="https://mashable.com/article/twitter-rebrand-x-brand-identity-crisis-website">rollout has been messy on the company’s own website</a>. Musk reportedly <a href="https://mashable.com/article/elon-musk-twitter-take-x-handle-from-original-user">swiped the @x handle from its original user</a> without offering any compensation. </p>
<p><div data-react-class="Tweet" data-react-props="{"tweetId":"1683551440416165889"}"></div></p>
<p>What’s more, many users had already left the platform because of <a href="https://www.theguardian.com/technology/2022/dec/13/twitter-lose-users-elon-musk-takeover-hate-speech">technical glitches and increased hate speech</a>; the switch to X could make them less likely to come back and won’t make others more eager to stick around.</p>
<p>In Musk’s quest to create what he says will become an app that “<a href="https://www.cnbc.com/2023/07/24/elon-musk-risks-more-damage-to-twitter-business-after-name-change-to-x.html">does everything</a>,” I believe that his X rebrand took Twitter one more step toward being good for hardly anything.</p><img src="https://counter.theconversation.com/content/210432/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Matthew Pittman does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>A scholar of design who researches brand campaigns critiques the social media platform’s new look.Matthew Pittman, Assistant Professor of Advertising and Public Relations, University of TennesseeLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/2043412023-06-05T12:10:20Z2023-06-05T12:10:20ZHow building more backyard homes, granny flats and in-law suites can help alleviate the housing crisis<figure><img src="https://images.theconversation.com/files/528095/original/file-20230524-7504-rz4zwj.jpg?ixlib=rb-1.1.0&rect=0%2C10%2C3594%2C2371&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">A newly built accessory dwelling unit in Los Angeles.</span> <span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/the-accessory-dwelling-unit-behind-grove-pashleys-main-home-news-photo/1256258319?adppopup=true">Alisha Jucevic/The Washington Post via Getty Images</a></span></figcaption></figure><p>To many people, the image of a nuclear family in a stand-alone house with a green lawn and white picket fence still represents a fulfillment of the American dream. </p>
<p>However, this ideal is relatively new within a broader history of housing and development in the U.S. It’s also a goal that has become <a href="https://www.nytimes.com/2022/09/25/upshot/starter-home-prices.html">increasingly unattainable</a>.</p>
<p><a href="https://www.researchgate.net/profile/Jeffrey-Kruth">As professors</a> <a href="https://scholar.google.com/citations?user=Tk2hQ7kAAAAJ&hl=en">of architecture</a>, we explore how cities change over time, and how certain building trends become commonplace through cultural, political, technological and economic shifts. </p>
<p>Over the past century, the U.S. has lost a rich variety of living options because of the homogenization of zoning policies that prioritize single-family housing, as well as developers’ desire to have inexpensive and easily replicated building plans.</p>
<p>These development prescriptions are so pervasive that it is now illegal to build anything other than a single-family house <a href="https://www.nytimes.com/interactive/2019/06/18/upshot/cities-across-america-question-single-family-zoning.html">on 75% of residential land</a> in American cities. <a href="https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3768264">Single-family zoning restricts</a> the supply of affordable housing, leading to higher costs, displacement and segregation.</p>
<h2>Enter the ADU</h2>
<p>Diverse patterns of living arrangements across families, communities and plots of land <a href="https://placesjournal.org/article/housing-and-the-cooperative-commonwealth/">were far more common</a> in the 19th and early 20th centuries.</p>
<p>To accommodate these living situations, a range of housing types emerged: multifamily apartment complexes, housing cooperatives, and duplexes and triplexes. </p>
<p>There were also accessory dwelling units, or ADUs, which are sometimes called “granny flats,” “backyard homes,” “in-law suites” or “backyard cottages.”</p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/529640/original/file-20230601-29-iy1g1o.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Graphic showing three different forms of ADUs." src="https://images.theconversation.com/files/529640/original/file-20230601-29-iy1g1o.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/529640/original/file-20230601-29-iy1g1o.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=659&fit=crop&dpr=1 600w, https://images.theconversation.com/files/529640/original/file-20230601-29-iy1g1o.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=659&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/529640/original/file-20230601-29-iy1g1o.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=659&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/529640/original/file-20230601-29-iy1g1o.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=828&fit=crop&dpr=1 754w, https://images.theconversation.com/files/529640/original/file-20230601-29-iy1g1o.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=828&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/529640/original/file-20230601-29-iy1g1o.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=828&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">The many faces of an ADU.</span>
<span class="attribution"><a class="source" href="https://bostonthecityuponahill.files.wordpress.com/2020/01/accessory-dwelling-units_2.jpg">City of St. Paul</a></span>
</figcaption>
</figure>
<p>These terms all refer to essentially the same thing: an additional unit of housing on a single lot, typically smaller in square footage than the main residence. They include full amenities – a kitchen and a bathroom, along with a separate entry from the primary dwelling. ADUs can either be attached to or detached from an existing house and can either be built from the ground up or be converted from existing spaces, like garages, basements or attics.</p>
<p>You may have heard of minimalist living trends such as <a href="https://www.nytimes.com/2022/04/20/magazine/van-life-dwelling.html">van life</a> and <a href="https://www.bloomberg.com/news/articles/2013-12-03/tiny-homes-a-new-model-for-super-chic-affordable-housing">tiny homes</a>, but the ADU was the original compact housing. </p>
<p>While ADUs are not new, many Americans are unfamiliar with them. A recent <a href="https://www.freddiemac.com/research/consumer-research/20230124-adus-can-increase-housing-stock-most-are-unfamiliar">Freddie Mac consumer survey</a> found that 71% of homeowners were unfamiliar with the concept, though 32% expressed interest in having one on their property once they learned about it.</p>
<h2>Addressing the ‘missing middle’</h2>
<p>More diverse living arrangements are both desirable and necessary. </p>
<p>Recent trends – <a href="https://time.com/6243148/working-from-home-is-the-trend-of-the-year-and-next-year-too/">working from home</a> and <a href="https://www.bcg.com/publications/2022/aging-in-place-plan-for-next-generation">aging in place</a>, along with <a href="https://www.washingtonpost.com/business/2022/11/30/housing-market-shuts-out-millennials/">a homeownership market that’s pricing out younger adults</a> – all demand housing types that are not readily available in a market <a href="https://www.brookings.edu/essay/trend-2-americas-demographics-are-transforming-but-our-housing-supply-is-not/">dominated by single-family housing</a>. </p>
<p>We believe ADUs – with their social, economic and environmental benefits – should become a more common housing option. </p>
<p>ADUs contribute to sustainability goals primarily because they encourage density. Rather than clearing another lot in a sprawling suburb for a new single-family home, the ADU stealthily adds density to existing neighborhoods, which allows them to tap into the existing infrastructure grid. They can also lead to fewer emissions by encouraging shorter commutes. </p>
<p>Because ADUs are smaller, they also require fewer building materials to construct and less energy to heat; they can be passively cooled and need less electricity. Together, these result in reduced energy costs for the building. Additionally, <a href="https://zennihome.com">prefabricated ADUs</a> <a href="https://www.symbihom.com">can be directly purchased</a>, which further reduces construction time, can sidestep regulatory burdens, such as site inspections, and lead to lower costs and waste.</p>
<p>ADUs are also nimble. Twentieth-century forms of development often took a scorched-earth approach to redevelopment by <a href="https://www.bostonreview.net/articles/brent-cebul-tearing-down-black-america/">tearing down entire communities</a> – often communities of color – to build entirely new districts through urban renewal programs.</p>
<p>ADUs do not disrupt local communities. Because they don’t require buying up more land, they help add to the density, introducing new people from different walks of life. As neighborhood populations grow, they become more attractive to small businesses. Coffee shops, restaurants and grocery stores are more likely to flourish with more residents in a given area.</p>
<figure class="align-center ">
<img alt="Black and white photo of a small home built behind a larger home." src="https://images.theconversation.com/files/528096/original/file-20230524-29-squ9xz.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/528096/original/file-20230524-29-squ9xz.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=390&fit=crop&dpr=1 600w, https://images.theconversation.com/files/528096/original/file-20230524-29-squ9xz.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=390&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/528096/original/file-20230524-29-squ9xz.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=390&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/528096/original/file-20230524-29-squ9xz.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=490&fit=crop&dpr=1 754w, https://images.theconversation.com/files/528096/original/file-20230524-29-squ9xz.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=490&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/528096/original/file-20230524-29-squ9xz.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=490&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
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<span class="caption">An early-20th-century backyard home in Canada.</span>
<span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/the-one-person-granny-flat-units-are-520-sq-ft-and-the-two-news-photo/499310047?adppopup=true">Toronto Star Archives/Getty Images</a></span>
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<p>ADUs can also fill the gap of much-needed “<a href="https://www.enterprisecommunity.org/sites/default/files/2021-06/overcoming-barriers-to-bringing-adu-development-to-scale.pdf">missing middle</a>” housing. Many new neighborhood developments are marketed as “luxury” and try to take advantage of hot markets by maximizing price points. Affordable housing is typically developed by government housing authorities and nonprofit developers who attempt to meet the pressing housing needs at the lower end of the economic spectrum. </p>
<p>Alternatively, housing that caters to middle-income people is typically nonsubsidized through traditional government funding mechanisms but fills a need that many for-profit developers can’t meet. These are usually smaller homes that attempt to appeal to a variety of <a href="https://americanassembly.org/publications-blog/on-the-edge-americas-middle-neighborhoods-americas-middle-neighborhoods">price points and lifestyles</a>. Many ADUs could fall into that category. </p>
<p>Finally, at the scale of the household, there are numerous benefits to ADUs.</p>
<p>Going back to its moniker as a “granny flat,” ADUs offer the opportunity for intergenerational living. They are typically a single story, which makes it easier for older family members to age in place. But they also provide space and privacy for younger people who may not be able to afford a larger single-family home. </p>
<p>Some ADUs <a href="https://www.hcd.ca.gov/policy-research/docs/understandingadusimportance.pdf">serve as rental units or short-term rentals</a>. By adding units to the existing rental market, they can stanch <a href="https://nypost.com/2022/02/01/us-rent-prices-highest-in-decades-and-theyre-not-coming-down-data-shows/">soaring rental costs</a>. They can also provide passive income for homeowners who need help paying off their mortgage.</p>
<h2>California leads the way</h2>
<p>To be sure, <a href="https://sdnews.com/groups-voice-opposition-to-adu-rules/">there is plenty of opposition to ADUs</a>. It often appears from local residents who fear that there won’t be enough parking spaces to accommodate new neighbors and that adding more dwellings to their neighborhoods could decrease property values. </p>
<p>Similarly, bureaucratic hurdles can sometimes discourage homeowners who might otherwise be interested in <a href="https://www.lincolninst.edu/pt-br/publications/working-papers/accessory-dwelling-units-beyond">having their own ADU</a>. Sometimes six or seven separate permits are required, significantly delaying construction. </p>
<p>Los Angeles has had a unique approach to encourage ADUs. The city recently launched its <a href="https://www.ladbs.org/adu/standard-plan-program/approved-standard-plans">Accessory Dwelling Unit Standard Plan Program</a>, which offers homeowners and developers the option to select from 20 preapproved ADU models for construction. Plans range from a studio structure of less than 400 square feet to a 1,200-square-foot house with three bedrooms. </p>
<p>Since construction or conversion is still relatively expensive and out of reach for many homeowners, the state of California also offers homeowners a $40,000 subsidy to encourage the construction of ADUs to make them more affordable. Meanwhile, CityLAB, a university-affiliated research center at UCLA, <a href="https://citylab.ucla.edu/adu-guidebook">designed a guidebook</a> for homeowners looking to build one of these small homes. The guidebook provides a step-by-step process to walk people through information needed to submit an application to the city and find lenders, designers and contractors.</p>
<p>California’s various initiatives have largely been successful. ADU permits increased from 9,000 in 2018 to 12,392 in 2020, <a href="https://www.aducalifornia.org/">according to the UC Berkeley Center for Community Innovation</a>. Seeing the success of ADU policies in cities like Los Angeles and <a href="https://www.seattletimes.com/seattle-news/politics/seattle-is-now-building-more-adus-than-single-houses/">Seattle</a>, <a href="https://apps.pittsburghpa.gov/redtail/images/2204_ADU_PC__Hearing_and_Action_Presentation.pdf">Pittsburgh</a> is testing an ADU pilot project in a handful of neighborhoods. <a href="https://www.wvxu.org/politics/2023-03-16/cincinnati-council-accessory-dwelling-units-single-family-neighborhoods">Cincinnati</a> is also currently advancing legislation to reverse policies that forbid ADUs. </p>
<p>As the country grapples with alleviating its housing crisis, solutions will require rethinking existing policies and re-imagining what housing development and neighborhood cohesion looks like. ADUs can be one of those solutions.</p><img src="https://counter.theconversation.com/content/204341/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>The authors do not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and have disclosed no relevant affiliations beyond their academic appointment.</span></em></p>Though accessory dwelling units have been around for centuries, a recent survey found that 71% of Americans were unfamiliar with the concept.Jeff Kruth, Assistant Professor of Architecture, Miami UniversityMurali Paranandi, Professor of Architecture, Miami UniversityLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/2034632023-05-15T11:56:49Z2023-05-15T11:56:49Z8th Street Samba: here’s why the authentic collaboration behind the ‘perfect sneaker’ matters<figure><img src="https://images.theconversation.com/files/522586/original/file-20230424-28-xjfdxl.jpg?ixlib=rb-1.1.0&rect=0%2C0%2C1337%2C1056&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">The many colour ways of the 8th Street Samba shoe.</span> <span class="attribution"><a class="source" href="https://kith.com/blogs/kith/the-8th-street-samba-by-ronnie-fieg-for-adidas-originals-clarks-originals">Courtesy of Kith</a>, <a class="license" href="http://creativecommons.org/licenses/by-sa/4.0/">CC BY-SA</a></span></figcaption></figure><p>From <a href="https://www.nike.com/au/launch/t/air-force-1-tiffany-and-co-black">Nike Air Force 1 x Tiffany & Co</a> to <a href="https://www.crocs.com/KFC.html">Crocs x KFC</a>, footwear collaborations are rife. But the recent release of <a href="https://www.highsnobiety.com/tag/ronnie-fieg/">Kith founder</a> Ronnie Fieg’s <a href="https://kith.com/blogs/news/the-8th-street-samba-by-ronnie-fieg-for-adidas-originals-clarks-originals">8th Street Samba</a> for Adidas Originals and Clarks Originals is special.</p>
<p>In a saturated market, <a href="https://www.smh.com.au/lifestyle/fashion/nike-and-tiffany-and-co-do-we-need-yet-another-fashion-crossover-20230202-p5chbn.html">fatigued</a> by increasingly gratuitous partnerships, fashion news outlets have praised the collaboration for its timeless authenticity, touting it the <a href="https://www.gq-magazine.co.uk/fashion/article/adidas-clarks-ronnie-fieg-samba-sneaker-collab-2023">“perfect sneaker” and “holy trinity”</a> of collaborations.</p>
<p>And consumers seem to agree. Pairs of the limited edition sneaker have <a href="https://stockx.com/en-gb/adidas-clarks-8th-street-samba-by-ronnie-fieg-chalk-white-green">resold</a> for up to five times the original price. Pre-orders of a subsequent second release closed, with buyers willing to wait up to six months for delivery.</p>
<p>As fashion researchers, we’re concerned by the environmental impact of an ever-increasing number of collaborations, where authenticity is undermined by commercial objectives. While the 8th Street Samba isn’t designed to be a sustainable shoe, we’re interested in how meaningful partnerships can help to inspire a slower and more sustainable fashion system.</p>
<h2>Footwear’s sustainability problem</h2>
<p>As one of the world’s <a href="https://www.bloomberg.com/graphics/2022-fashion-industry-environmental-impact/">greatest polluters</a>, the fashion industry has come under increasing pressure to become more sustainable. With progress towards a more <a href="https://www.theguardian.com/lifeandstyle/2023/apr/17/fashion-greenwashing-glossary-what-do-circular-sustainable-and-zero-waste-really-mean">circular</a> approach now underway (where items are made from reused materials that can themselves be repeatedly reused, repaired and recycled), attention is turning to <a href="https://www.bettershoes.org/introduction">footwear.</a></p>
<p>Footwear is <a href="https://traid.org.uk/footwork/">fashion’s least sustainable category</a>. Each year, 24.3 billion shoes are produced globally. With an estimated 90% not recycled, approximately <a href="https://www.bettershoes.org/introduction">1.2 million tonnes</a> of post-consumer shoe waste is created annually in the EU alone. Complex construction, particularly of sneakers, means most cannot be disassembled for recycling or repair.</p>
<p>We’re producing and consuming too many new shoes and collaborations are part of the problem.</p>
<p><div data-react-class="InstagramEmbed" data-react-props="{"url":"https://www.instagram.com/p/CqDXhZEuQ7C","accessToken":"127105130696839|b4b75090c9688d81dfd245afe6052f20"}"></div></p>
<p>Collaborating is key to sneaker and streetwear culture. From the archetypal Converse “Chuck” Taylor All-Star and Puma Clyde, to the Nike Air Jordan and Run DMC Adidas Superstar. Links to sports stars, artists and lifestyles have transformed once practical and comfortable sports shoes into highly <a href="https://www.tandfonline.com/doi/full/10.1080/10253866.2020.1741357">fetishised commodities</a>.</p>
<p>Collaborations are a marketing tactic in which two (or occasionally more) brands combine their values and aesthetics to produce a unified product. The goal is to appeal to new markets and build brand image, equity and credibility.</p>
<p>For connoisseurs, or <a href="https://doi.org/10.1186/s40691-020-00228-3">“sneakerheads”</a>, the value of a collaboration is in its scarcity (often released as a limited edition) and the story it tells. At their best, collaborations enable and celebrate connections between brands, histories, cultures and communities. </p>
<p>However, the values that once made them special are becoming a thing of the past. In an industry increasingly obsessed with reach and hype, collaborations have become the norm. According to an <a href="https://www.highsnobiety.com/p/sneaker-collaborations/">article in Highsnobiety</a>, the frequency of production and numbers left sitting on shelves are putting the sneaker industry at risk of “collaborating itself to death”. </p>
<p>Even sneakerheads themselves are <a href="https://www.sneak-ahead.org/">calling for a return to a slower, more considered approach.</a></p>
<h2>What makes an authentic collaboration?</h2>
<p>Broadly defined, an authentic product or brand is one that may be perceived as being sincere, original, unique, natural, having utility and bringing pleasure.</p>
<p><div data-react-class="Tweet" data-react-props="{"tweetId":"1637118112016285697"}"></div></p>
<p>Heritage brands such as Clarks Originals and Adidas Originals tick a number of these boxes making them desirable collaborative partners. Yet as author and journalist <a href="https://david-boyle.co.uk/david-boyle">David Boyle</a> explains:</p>
<blockquote>
<p>Authenticity doesn’t just mean reliving the past: it means using it to find new ways of living – maybe even new kinds of progress. The most authentic isn’t necessarily the most true to the past; it could be the most creative or the most human.</p>
</blockquote>
<p>The three-way partnership between Clarks, Adidas and Kith is nothing if not creative and human. The unique combination of the crepe sole and suede upper of the Clarks Wallabee shoe with the silhouette and three stripes of the Adidas Samba sneaker tells the nostalgic story of 90s streetwear in New York and beyond.</p>
<p>Having worn Clarks Originals for most of his life, Ronnie Fieg’s participation in the collaboration provided the subcultural capital required to make it meaningful and authentic. In a <a href="https://kith.com/blogs/news/the-8th-street-samba-by-ronnie-fieg-for-adidas-originals-clarks-originals">blog post</a> the streetwear enthusiast recalled working in his uncle’s footwear store, David Z. on New York’s 8th Street, throughout the 1990s. The experience enabled him to build a deep understanding of the cultural significance of both Adidas and Clarks, which then inspired the collaboration.</p>
<p>As marketing professor <a href="https://link.springer.com/book/10.1057/9780230250802">Michael Beverland</a> explains, loyal fans are what give brands meaning. Brands that innovate while consistently and truthfully respecting (rather than exploiting) the creative and human processes that make their products meaningful are perceived as authentic.</p>
<p>Authentic collaborations, then, come when creative teams are able to take the time to fully research, observe, understand and even immerse themselves in the social lives of their products. This understanding enables them to make intuitive and respectful decisions about which partnerships and projects they pursue.</p>
<p>Clarks Originals have a history of going one stage further by actually employing or collaborating with their consumers. In this case, authentic products blur the line between who produces and who consumes.</p>
<h2>From selling soles to saving them</h2>
<p>Research has shown that many <a href="https://intellectdiscover.com/content/journals/10.1386/csfb.5.1.25_1">Clarks Originals wearers</a> develop a sentimental attachment to their shoes, which comes from a respect for the brand and the bond they develop with them through wear.</p>
<p>Clarks Originals, including the 8th Street Samba, are made from leather, suede and natural crepe rubber. Unlike polyurethane leather and other synthetic alternatives, these materials age gracefully and transform with the wearer, becoming mnemonic (memory) objects that store and recall the traces of bodies, personal stories and experiences.</p>
<p>Once worn out (the soles and laces are usually the first to go), many are reluctant to dispose of them and begrudge having to wear in a new pair. While these shoes may not be materially durable, like other special shoes, they are simply <a href="https://footwearresearchnetwork.org/articles/dormant-shoes-why-do-we-keep-shoes-we-no-longer-wear">too meaningful to throw away</a>.</p>
<p>According to professor of sustainable design, <a href="https://www.researchgate.net/publication/286752949_Emotionally_durable_design_Objects_experiences_and_empathy">Jonathan Chapman</a>, designing for this kind of “<a href="https://www.greenbiz.com/article/playing-keeps-designing-emotional-durability-key-circular-economy">emotional durability</a>” presents an opportunity to develop alternative, sustainable business models that cater for repair, recycling and reuse rather than replacement.</p>
<p><div data-react-class="InstagramEmbed" data-react-props="{"url":"https://www.instagram.com/reel/CpSzoJ5pfMZ/?utm_source=ig_web_copy_link\u0026igshid=MzRlODBiNWFlZA==","accessToken":"127105130696839|b4b75090c9688d81dfd245afe6052f20"}"></div></p>
<p><a href="https://www.linkedin.com/feed/update/urn:li:activity:7054019412240015360?updateEntityUrn=urn%3Ali%3Afs_feedUpdate%3A%28V2%2Curn%3Ali%3Aactivity%3A7054019412240015360%29">Responses</a> to French sneaker brand Veja’s recent <a href="https://www.instagram.com/reel/CpSzoJ5pfMZ/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA==">sneaker-restoring service</a> demonstrate there is a considerable appetite for services and experiences that assist consumers to continue relationships with the things they love.</p>
<p>According to a recent article for the <a href="https://footwearresearchnetwork.org/articles/the-art-and-science-of-repair-towards-a-responsible-and-meaningful-relationship-with-footwear">Footwear Research Network</a>, when led by brands themselves, these repair and recycling services not only enhance consumer satisfaction and loyalty, but also generate data that brands can use to improve product durability and quality.</p>
<p>While collaborations can be problematic, when done authentically they can provide solutions.</p>
<p>Collaborating with consumers to both create and prolong the lives of meaningful products like the 8th Street Samba is one way to help ensure an environmentally and economically sustainable future for the footwear industry. It can also help to restore a sense of authenticity to an industry at risk of losing its credibility.</p><img src="https://counter.theconversation.com/content/203463/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>The authors do not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and have disclosed no relevant affiliations beyond their academic appointment.</span></em></p>In a saturated market, fatigued by gratuitous partnerships such as Nike x Tiffany & Co., this collaboration has been praised for its timeless authenticity.Alexandra Sherlock, Lecturer, School of Fashion and Textiles, RMIT UniversityAndrew Groves, Professor of Fashion Design, University of WestminsterLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/2032542023-04-04T15:06:04Z2023-04-04T15:06:04ZAshish: Fall in Love and Be More Tender exhibition – a glittering testament to a fashion genius<p>The first retrospective exhibition of the fashion designer <a href="https://ashish.co.uk/">Ashish Gupta</a> has opened at London’s <a href="https://www.wmgallery.org.uk/">William Morris Gallery</a>.</p>
<p>As an expert in fashion marketing (and a proud owner of a number of Ashish’s renowned shimmering <a href="https://www.wmgallery.org.uk/whats-on/exhibitions-43/ashish-fall-in-love-and-be-more-tender">sequined skirts</a>) I was greatly excited by the prospect of the show.</p>
<p>When the day of my visit came, not only was I was able to immerse myself in Ashish’s wonderful creations, but I had a chance encounter with the designer himself. He told me that the skirt I had chosen to wear that day (a sparkling green fish print fabric, covered in iridescent sequins) was from one of his earliest collections.</p>
<p>It was in 2021, 20 years after Gupta founded his label eponymous label, Ashish, that the Morris Gallery’s curators Roisin Ingleby and Joe Scotland conceived the exhibition. Ingleby told me of the hours of joy they had spent in Ashish’s London design archive, selecting the 60 designs that would eventually be showcased through the exhibition.</p>
<p>As a designer, Gupta is celebrated for colourful, glamourous, extravagant designs realised through detailed craftsmanship. Up to 30 garments are handmade each season. They are <a href="https://bricksmagazine.co.uk/2022/11/13/ashish-gupta-on-expressing-identity-through-art/">made to order</a>, with a limited run on designs, ensuring exclusivity and longevity. </p>
<h2>From a Delhi boy to the king of sequins</h2>
<p>Ashish Gupta was born in Delhi to GP parents. His first exposure to fashion was through a copy of Vogue magazine that his mother had “<a href="https://www.theguardian.com/lifeandstyle/2020/mar/07/ashish-gupta-colour-and-sequins-are-my-response-to-our-terrifying-world-">smuggled into the house</a>”.</p>
<p>At his strict Catholic school, <a href="https://www.lampoonmagazine.com/article/2021/11/04/ashish-gupta-designer-indian-manufacturing/">Gupta was bullied</a> and fashion and cinema became his escapism. </p>
<p>Having initially studied fine art in India, he moved to London to study fashion design at Central Saint Martins, graduating in 2000. He remembers the then course director, <a href="https://www.businessoffashion.com/community/people/louise-wilson">Louise Wilson</a>, giving him the best possible advice: to <a href="https://www.theguardian.com/lifeandstyle/2020/mar/07/ashish-gupta-colour-and-sequins-are-my-response-to-our-terrifying-world-">dream</a>. </p>
<p>The colour, sparkle and sequins which have come to define his work ever since are the realisation of that dream.</p>
<p>When Gupta’s eponymous label was discovered by the famous <a href="https://www.brownsfashion.com/uk/sets/browns-focus">Browns Focus boutique</a> on London’s South Molton Street, he was launched from making clothes for friends into the <a href="https://showstudio.com/contributors/ashish_gupta">international fashion industry</a>.</p>
<p>Gupta is now considered a pioneer in the way his designs challenge heterosexual, masculine stereotypes and explore the role of clothing in <a href="https://bricksmagazine.co.uk/2022/11/13/ashish-gupta-on-expressing-identity-through-art/">making political and social statements</a>. </p>
<p>This exhibition focuses on the stories told by his creations, demonstrating fashion’s power as a form of cultural commentary.</p>
<figure class="align-left zoomable">
<a href="https://images.theconversation.com/files/519261/original/file-20230404-28-iuma7c.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="A colourful shirt dress hangs on a mannequin." src="https://images.theconversation.com/files/519261/original/file-20230404-28-iuma7c.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/519261/original/file-20230404-28-iuma7c.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=800&fit=crop&dpr=1 600w, https://images.theconversation.com/files/519261/original/file-20230404-28-iuma7c.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=800&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/519261/original/file-20230404-28-iuma7c.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=800&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/519261/original/file-20230404-28-iuma7c.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1005&fit=crop&dpr=1 754w, https://images.theconversation.com/files/519261/original/file-20230404-28-iuma7c.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1005&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/519261/original/file-20230404-28-iuma7c.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1005&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">Ashish’s Wax Print Dress on display at the exhibition.</span>
<span class="attribution"><span class="source">Author provided</span>, <a class="license" href="http://creativecommons.org/licenses/by/4.0/">CC BY</a></span>
</figcaption>
</figure>
<p>One of the earlier pieces on display is a Dutch Wax Print Dress (2005), a celebration of London’s multicultural heritage. The dress is made from African wax print fabric – a material with a complex colonial history – and embellished with sequins.</p>
<p>In the same room is Ashish’s <a href="https://www.brownsfashion.com/uk/shopping/ashish-immigrant-t-shirt-11786702">Immigrant T-shirt</a> combined with a more traditional South Asian embroidered red skirt and veil from his 2017 spring/summer collection. </p>
<p>This collection was the first to explicitly reference his experience as an emigrant by combining elements of western dress and eastern influences.</p>
<p>Designed during the time of Brexit and the <a href="https://www.jcwi.org.uk/the-hostile-environment-explained">British Home Office’s hostile environment policy</a>, this collection explored the emotional impact of leaving home and beginning life elsewhere. Throughout the exhibition are designs that pay testament to Gupta’s belief in equality and inclusive representation.</p>
<h2>Crafting cultural commentaries</h2>
<p>The cultural and political narratives that define Ashish’s creative storytelling are on show through the combinations of craft skill, materials, sequins and hand embroidery, throughout the exhibition.</p>
<p>Sequins have become Ashish’s signature style and far from <a href="https://www.fashionabc.org/wiki/ashish-gupta/">cheap embellishments</a>, they represent a technical art form, enabling a different way of working with fabric.</p>
<p>Ashish’s garments are hand made in India using <a href="https://www.lampoonmagazine.com/article/2021/11/04/ashish-gupta-designer-indian-manufacturing/">traditional artisinal craft skills</a>.</p>
<p>Many of the garments on display highlight Ashish’s play on traditional craft through the embellishment of sequins, including crochet and Fair Isle knitwear. </p>
<p>On display in the centre of the opening room is the designer’s adaptation of a high vis jacket, with a lumberjack shirt and jeans from the 2010 autumn/winter collection. Here, the addition of sequins play with heterosexual norms.</p>
<p>The second section of the exhibition centres on the <a href="https://10magazine.com/ashish-ready-to-wear-aw17/">Yellow Brick Road</a> collection from autumn/winter 2017, which was inspired by the 1939 film, The Wizard of Oz. </p>
<p>These pieces feature multiple versions of the Rainbow pride flag, to form a collection that celebrates people of colour and queer communities.</p>
<p>The final section of the exhibition showcases the skill of hand embroidery on display in Ashish designs. </p>
<p>A highlight for me was the dressing gown created using <a href="https://www.culturalindia.net/indian-crafts/zardozi.html">Zardozi</a> – a south Asian embroidery technique using gold thread.</p>
<p>This fascinating exhibition presents the wonder of Ashish’s creativity and highlights the power of garments to convey stories and meanings. The glittering genius of combining sequins with traditional craftmanship has Gupta firmly on fashion’s catwalk of fame.</p>
<p><em><a href="https://www.wmgallery.org.uk/whats-on/exhibitions-43/ashish-fall-in-love-and-be-more-tender/">Ashish: Fall in Love and Be More Tender</a> is a free exhibition, on now at the William Morris Gallery, London, until 10 September.</em></p><img src="https://counter.theconversation.com/content/203254/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Naomi Braithwaite does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>A new exhibition pays homage to the king of sequins, who combines detailed, traditional techniques with unconventional materials.Naomi Braithwaite, Associate Professor in Fashion Marketing and Branding, Nottingham Trent UniversityLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/1989542023-03-30T12:28:00Z2023-03-30T12:28:00Z3D printing promises to transform architecture forever – and create forms that blow today’s buildings out of the water<figure><img src="https://images.theconversation.com/files/518266/original/file-20230329-16-omhub5.jpg?ixlib=rb-1.1.0&rect=8%2C8%2C1789%2C1188&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">House Zero in Austin, Texas, is a 2,000-square-foot home that was built with 3D-printed concrete.</span> <span class="attribution"><a class="source" href="https://www.lakeflato.com/sites/default/files/project-media/HouseZero1.jpg">Lake Flato Architects</a></span></figcaption></figure><p>In architecture, new materials rarely emerge. </p>
<p>For centuries, wood, masonry and concrete formed the basis for most structures on Earth. </p>
<p>In the 1880s, the adoption of <a href="http://www.thewestologist.com/architecture-and-design/the-metal-frame-revolution">the steel frame changed architecture forever</a>. Steel allowed architects to design taller buildings with larger windows, giving rise to the skyscrapers that define city skylines today.</p>
<p>Since the industrial revolution, construction materials have been largely confined to a range of mass-produced elements. From steel beams to plywood panels, this standardized kit of parts has informed the design and construction of buildings for over 150 years. </p>
<p>That may soon change with advances in what’s called “<a href="https://doi.org/10.1016/j.addma.2019.100906">large-scale additive manufacturing</a>.” Not since the adoption of the steel frame has there been a development with as much potential to transform the way buildings are conceived and constructed. </p>
<p>Large-scale additive manufacturing, like desktop 3D printing, involves building objects one layer at a time. Whether it’s clay, concrete or plastic, the print material is extruded in a fluid state and hardens into its final form.</p>
<p>As director of <a href="https://archdesign.utk.edu/make/institute-for-smart-structures/">the Institute for Smart Structures</a> at the University of Tennessee, I’ve been fortunate to work on a series of projects that deploy this new technology. </p>
<p>While some roadblocks to the widespread adoption of this technology still exist, I can foresee a future in which buildings are built entirely from recycled materials or materials sourced on-site, with forms inspired by the geometries of nature.</p>
<h2>Promising prototypes</h2>
<p>Among these is <a href="https://archdesign.utk.edu/pavilion-cherokee-farm/">the Trillium Pavilion</a>, an open-air structure printed from recycled <a href="https://omnexus.specialchem.com/selection-guide/acrylonitrile-butadiene-styrene-abs-plastic">ABS polymer</a>, a common plastic used in a wide range of consumer products.</p>
<p>The structure’s thin, double-curved surfaces were inspired by the petals of <a href="https://plants.ces.ncsu.edu/plants/trillium/">its namesake flower</a>. The project was designed by students, printed by Loci Robotics and constructed on the University of Tennessee Research Park at Cherokee Farm in Knoxville.</p>
<p>Other recent examples of large-scale additive manufacturing <a href="https://www.frameweb.com/article/living/meet-the-first-sustainable-housing-model-3d-printed-entirely-from-local-raw-earth">include Tecla</a>, a 450-square-foot (41.8-square-meter) prototype dwelling designed by Mario Cucinella Architects and printed in Massa Lombarda, a small town in Italy.</p>
<figure class="align-center ">
<img alt="Aerial view of two rounded dwellings made from clay." src="https://images.theconversation.com/files/518263/original/file-20230329-16-1uj5n5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/518263/original/file-20230329-16-1uj5n5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=432&fit=crop&dpr=1 600w, https://images.theconversation.com/files/518263/original/file-20230329-16-1uj5n5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=432&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/518263/original/file-20230329-16-1uj5n5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=432&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/518263/original/file-20230329-16-1uj5n5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=543&fit=crop&dpr=1 754w, https://images.theconversation.com/files/518263/original/file-20230329-16-1uj5n5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=543&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/518263/original/file-20230329-16-1uj5n5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=543&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Tecla was built from locally sourced clay.</span>
<span class="attribution"><a class="source" href="https://designwanted.com/wp-content/uploads/2022/12/FIRST-Tecla-house-by-Mario-Cucinella-Architects-and-WASP-Saga-Space-Architects-3DCP-Group-3D-printed-houses.jpg">Mario Cucinella Architects</a></span>
</figcaption>
</figure>
<p>The architects printed Tecla out of clay sourced from a local river. The unique combination of this inexpensive material and radial geometry created an energy-efficient form of alternative housing.</p>
<p>Back in the U.S., the architecture firm Lake Flato partnered with the construction technology firm ICON to print concrete exterior walls for a home dubbed “<a href="https://www.lakeflato.com/houses/house-zero">House Zero</a>” in Austin, Texas. </p>
<p>The 2,000-square-foot (185.8-square-meter) home demonstrates the speed and efficiency of 3D-printed concrete, and the structure displays a pleasing contrast between its curvilinear walls and its exposed timber frame.</p>
<h2>The planning process</h2>
<p>Large-scale additive manufacturing involves three knowledge areas: digital design, digital fabrication and material science. </p>
<p>To begin, architects create computer models of all the components that will be printed. These designers can then use software to test how the components will respond to structural forces and tweak the components accordingly. These tools can also help the designer figure out how to reduce the weight of components and automate certain design processes, such as smoothing complex geometric intersections, prior to printing. </p>
<p>A piece of software <a href="https://all3dp.com/2/what-is-a-3d-slicer-simply-explained/">known as a slicer</a> then translates the computer model into a set of instructions for the 3D printer. </p>
<p>You might assume 3D printers work at a relatively small scale – think <a href="https://www.youtube.com/watch?v=1MmjBLYMNWY">cellphone cases</a> and <a href="https://cults3d.com/en/tags/toothbrush%20holder">toothbrush holders</a>.</p>
<p>But advances in 3D printing technology have allowed the hardware <a href="https://ceadgroup.com/large-scale-3d-printing-robot-vs-gantry-systems/">to scale up in a serious way</a>. Sometimes the printing is done via what’s called <a href="https://all3dp.com/2/3d-printer-gantry-simply-explained/">a gantry-based system</a> – a rectangular framework of sliding rails similar to a desktop 3D printer. Increasingly, <a href="https://all3dp.com/1/robotic-arm-3d-printing-platforms-software/">robotic arms</a> are used due to their ability to print in any orientation.</p>
<figure>
<iframe width="440" height="260" src="https://www.youtube.com/embed/fpl6EPlCF2E?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe>
<figcaption><span class="caption">Robotic arms allow for more flexibility in the construction process.</span></figcaption>
</figure>
<p>The printing site can also vary. Furnishings and smaller components can be printed in factories, while entire houses must be printed on-site. </p>
<p>A range of materials can be used for large-scale additive manufacturing. Concrete is a popular choice due to its familiarity and durability. Clay is an intriguing alternative because it can be harvested on-site – which is what the designers of Tecla did. </p>
<p>But plastics and polymers could have the broadest application. These materials are incredibly versatile, and they can be formulated in ways that meet a wide range of specific structural and aesthetic requirements. They can also be produced from recycled and organically derived materials.</p>
<h2>Inspiration from nature</h2>
<p>Because additive manufacturing builds layer by layer, using only the material and energy required to make a particular component, it’s a far more efficient building process than “<a href="https://formlabs.com/blog/additive-manufacturing-vs-subtractive-manufacturing/">subtractive methods</a>,” which involve cutting away excess material – think milling a wood beam out of a tree.</p>
<p>Even common materials like concrete and plastics benefit from being 3D-printed, since there’s no need for additional formwork or molds. </p>
<p>Most construction materials today are mass-produced on assembly lines that are designed to produce the same components. While reducing cost, <a href="https://www.nytimes.com/2023/01/20/realestate/housing-developments-city-architecture.html">this process leaves little room for customization</a>.</p>
<p>Since there is no need for tooling, forms or dies, large-scale additive manufacturing allows each part to be unique, with no time penalty for added complexity or customization. </p>
<p>Another interesting feature of large-scale additive manufacturing is the capability to produce complex components with internal voids. This may one day allow for walls to be printed with conduit or ductwork already in place. </p>
<p>In addition, <a href="https://www.nationaldefensemagazine.org/articles/2017/10/30/defense-industry-moves-toward-multi-material-3d-printing">research is taking place</a> to explore the possibilities of multi-material 3D printing, a technique that could allow windows, insulation, structural reinforcement – even wiring – to be fully integrated into a single printed component.</p>
<p>One of the aspects of additive manufacturing that excites me most is the way in which building layer by layer, with a slowly hardening material, mirrors natural processes, like shell formation.</p>
<figure class="align-center ">
<img alt="Corner of home built layer by layer." src="https://images.theconversation.com/files/518244/original/file-20230329-20-32bge5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/518244/original/file-20230329-20-32bge5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/518244/original/file-20230329-20-32bge5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/518244/original/file-20230329-20-32bge5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/518244/original/file-20230329-20-32bge5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/518244/original/file-20230329-20-32bge5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/518244/original/file-20230329-20-32bge5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">A 3D-printed house in Shanghai that was built in less than 24 hours out of construction waste.</span>
<span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/general-view-of-3d-printed-house-is-seen-at-shanghai-news-photo/454138872?adppopup=true">Visual China Group/Getty Images</a></span>
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<p>This opens up windows of opportunity, allowing designers to implement geometries that are difficult to produce using other construction methods, but are common in nature. </p>
<p>Structural frames <a href="https://blog.interface.com/en-uk/biomimicry-the-biomimetic-office-building/">inspired by the fine structure of bird bones</a> could create lightweight lattices of tubes, with varying sizes reflecting the forces acting upon them. Façades that <a href="http://papers.cumincad.org/data/works/att/ecaade2021_133.pdf">evoke the shapes of plant leaves</a> might be designed to simultaneously shade the building and produce solar power. </p>
<h2>Overcoming the learning curve</h2>
<p>Despite the many positive aspects of large-scale additive manufacturing, there are a number of impediments to its wider adoption. </p>
<p>Perhaps the biggest to overcome is its novelty. There is an entire infrastructure built around traditional forms of construction like steel, concrete and wood, which include supply chains and building codes. In addition, the cost of digital fabrication hardware is relatively high, and the specific design skills needed to work with these new materials are not yet widely taught.</p>
<p>In order for 3D printing in architecture to become more widely adopted, it will need to find its niche. Similar to how <a href="https://lowendmac.com/2016/word-processing-and-personal-computers/">word processing helped popularize desktop computers</a>, I think it will be a specific application of large-scale additive manufacturing that will lead to its common use.</p>
<p>Perhaps it will be its ability to print highly efficient structural frames. I also already see its promise for creating unique sculptural façades that can be recycled and reprinted at the end of their useful life. </p>
<p>Either way, it seems likely that some combination of factors will ensure that future buildings will, in some part, be 3D-printed.</p>
<figure class="align-center ">
<img alt="White lattice building façade." src="https://images.theconversation.com/files/518271/original/file-20230329-16-uhc7i.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/518271/original/file-20230329-16-uhc7i.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=530&fit=crop&dpr=1 600w, https://images.theconversation.com/files/518271/original/file-20230329-16-uhc7i.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=530&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/518271/original/file-20230329-16-uhc7i.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=530&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/518271/original/file-20230329-16-uhc7i.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=665&fit=crop&dpr=1 754w, https://images.theconversation.com/files/518271/original/file-20230329-16-uhc7i.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=665&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/518271/original/file-20230329-16-uhc7i.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=665&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">A 3D-printed façade in Foshan, China.</span>
<span class="attribution"><a class="source" href="https://acadia-assets.s3.amazonaws.com/project/sub_image_01/D79HZD/_73A8640111a.jpg">The Association for Computer Aided Design in Architecture</a></span>
</figcaption>
</figure><img src="https://counter.theconversation.com/content/198954/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>James Rose does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>Not since the adoption of the steel frame has there been a development with as much potential to transform the way buildings are conceived and constructed.James Rose, Director of the Institute for Smart Structures, University of TennesseeLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/2017822023-03-22T04:12:01Z2023-03-22T04:12:01Z‘Cultural expression through dress’: towards a definition of First Nations fashion<p>This May, Wiradjuri woman Denni Francisco and her label Ngali will be the <a href="https://www.theguardian.com/fashion/2023/mar/21/australian-fashion-week-2023-denni-francisco-to-be-first-indigenous-designer-to-hold-solo-show">first Indigenous designer</a> to have a solo show at Australian Fashion Week. </p>
<p>This is a long time coming for the First Nations fashion industry and the designers and artists who have laboured in the fashion space for many years.</p>
<p>In 2003, Dharug woman Robyn Caughlan was the <a href="https://www.smh.com.au/lifestyle/fashion/robyn-has-fashion-game-all-sewn-up-20030426-gdgnsm.html">first Indigenous designer</a> to show her ready-to-wear collection at Australian Fashion Week. Over the past 20 years, many Indigenous designers have shown their work in group shows. Francisco’s solo show is an important step forward for the industry.</p>
<p>But First Nations fashion is not just about the catwalk. It is a politically charged practice. We need to have a discussion on what we mean when we say “First Nations fashion”.</p>
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Read more:
<a href="https://theconversation.com/how-indigenous-fashion-designers-are-taking-control-and-challenging-the-notion-of-the-heroic-lone-genius-121041">How Indigenous fashion designers are taking control and challenging the notion of the heroic, lone genius</a>
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<h2>What is ‘fashion’?</h2>
<p>During the European colonial reign from 1788 into the 1860s, Australian administrators were shocked at the appearance of Indigenous populations, often <a href="https://espace.library.uq.edu.au/data/UQ_121066/maynard_blankets.pdf?dsi_version=f1a1ebf590935fd50bfc2c57163abcff&Expires=1679467717&Key-Pair-Id=APKAJKNBJ4MJBJNC6NLQ&Signature=KsMMfEdTXMp2VlzeMt%7EZYgdxiVudEaDZbVvjNS8xdgK%7EJg4kePDuST82eTrVQeOIljYIGJ6FxiF4sa6J8Y89I9kJqTpLnidnTO2AJTomxsOeg%7EcpSNHWEqZN0xvpjFHcfyQt73CBkURfrxHajcdxXTCErdqs%7ExHdcK-nPLb68NC%7EHWAejnOVpPmZWv08k-JumxARkDh31tBjMKbYP4jabCFn0bxvT4t7i4897j0fUNu4LGmRYJZDard4gfWfakEhRhcAO1-A2%7EKNVYGJv6sYHBP05-VOrZUlo2aObFzBSHL4p0XIlkbaog2D0C3zWlXmUzfyqAcXMktlIxEO0IbtSw__">imposing new forms of clothing</a>. </p>
<p>To them, Indigenous peoples were generally seen as wearing insufficient, “unsophisticated” and “static” clothing. </p>
<p>From the 19th to early 20th century, sociologists argued only modern, urban societies <a href="https://www.tandfonline.com/doi/abs/10.1080/1362704X.2020.1732022">like France</a> had a <a href="https://www.britannica.com/topic/fashion-system">fashion “system”</a> of production, business and the trickle down of styles.</p>
<p>By the 1970s, UK and US researchers started to use the word <a href="http://arts.brighton.ac.uk/arts/alumni-and-associates/the-history-of-arts-education-in-brighton/fashion,-textiles-and-dress-history-a-personal-perspective-by-lou-taylor">“dress” instead of “fashion”</a> to connect wider forms of clothing, bodily and cultural practices.</p>
<p>“Fashion” has, however, been used as far back as the <a href="https://trove.nla.gov.au/newspaper/article/110896107?">1970s</a> to describe Australia’s emerging First Nations textiles, garment and runway shows.</p>
<p>Recently, First Nations researchers in Canada and the United States <a href="https://youtu.be/KORH4l2-AO4">discussed</a> using “Indigenous fashion-art-and-dress” to describe First Nations clothing practices, fashion design and integration of art.</p>
<p>In Australia we have not yet had a conversation about a term that could encompass fashion design, textiles and art. Important First Nations fashion <a href="https://firstnationsfashiondesign.com/">associations</a>, <a href="https://www.ifp.org.au/">organisations</a>, <a href="https://www.mobinfashion.com.au/">groups</a>, and <a href="http://globalindigenousmanagement.com/indigenous-runway-project/">projects</a> have attempted their own terms and strategies.</p>
<p>We need a phrase which includes everything from wearing <a href="https://collection.maas.museum/object/363142">Aboriginal flag t-shirts</a> in the city, self-designed outfits in the <a href="https://www.tiktok.com/@abc/video/7200892542890577153">Tiwi Islands</a> and <a href="https://www.vogue.com.au/fashion/news/the-ngvs-first-indigenous-fashion-commission-is-an-ode-to-the-golden-age-of-couture/image-gallery/79e0b3a2bc42202ac407e99ef93574d1">commissioned garments</a> in galleries and museums. </p>
<p><iframe id="tc-infographic-828" class="tc-infographic" height="400px" src="https://cdn.theconversation.com/infographics/828/24ba342bc9440cb542892aef434942d5fdf0a74d/site/index.html" width="100%" style="border: none" frameborder="0"></iframe></p>
<p>Many First Nations designers are not designing for the fashion industry or galleries which sell their work as art. They are designing to break colonial bonds, share cultural stories, and provide a wearable form of wellbeing. </p>
<h2>A matter of style</h2>
<p>We have been exploring the words that Australian First Nations fashion researchers, designers, artists and producers use to describe their work and the industry.</p>
<p>The new millennium has motivated a great flowering of new First Nations designers and artists.</p>
<p>They describe themselves using words such as <a href="https://www.instagram.com/lillardiabriggshouston/?hl=en">fashion designer</a>, <a href="https://www.instagram.com/yarrabah/?hl=en">artist</a>, <a href="https://www.instagram.com/simone_arnol/?hl=en">curator</a> and their work as <a href="https://www.instagram.com/lyn_al/?hl=en">fashion and art</a> and <a href="https://www.instagram.com/_myrrdah_/?hl=en">fashion labels</a>. </p>
<p><div data-react-class="InstagramEmbed" data-react-props="{"url":"https://www.instagram.com/p/CeNfJ5vv8jA","accessToken":"127105130696839|b4b75090c9688d81dfd245afe6052f20"}"></div></p>
<p>They variously describe their work as being Aboriginal, Torres Strait Islander or First Nations owned, or specifically emphasise their cultural Nations and groups.</p>
<p>Artist <a href="https://eprints.qut.edu.au/108051/1/Elisa_Carmichael_Thesis.pdf">Elisa Jane Carmichael</a> (Quandamooka) calls <a href="https://koorihistory.com/traditional-aboriginal-clothing/">traditional and cultural clothing and adornment</a> “the first creations of Australian fashion”. </p>
<p>Writer Tristen Harwood (First Nations) has written about the difference between <a href="https://www.artlink.com.au/articles/4897/walkabout-style-dreams-and-visions-of-indigenous-f/">“style” and “fashion”</a>. He defines First Nations fashion as the marketing and buying of Indigenous designed fashions. By style, Harwood means the dynamic process of dressing that touches on identity, politics, self-creation and culture.</p>
<p>Style is about wearing attire, in all its complexity, and includes the long history from <a href="https://aiatsis.gov.au/explore/missions-stations-and-reserves">forced clothing</a> to the <a href="https://mpavilion.org/program/untold-possum-skin-cloaks-reawakening-and-revitalising/">revival of cultural garments</a> and looks. </p>
<p>This distinction between fashion and style also informs <a href="https://magpiegoose.com/">Magpie Goose</a> co-owner and director <a href="https://aiatsis.library.link/portal/A-brief-redress-of-Indigenous-fashion-in/6rejKvEbLx8/">Amanda Hayman</a> (Kalkadoon and Wakka Wakka). She notes how “Aboriginal cultural identity was systematically repressed” from the early 1800s to the late 1960s. With this repression, she argues, “cultural expression through dress was significantly impacted”.</p>
<p><div data-react-class="InstagramEmbed" data-react-props="{"url":"https://www.instagram.com/p/Cpo4bUyLsyH","accessToken":"127105130696839|b4b75090c9688d81dfd245afe6052f20"}"></div></p>
<p>Now, a new generation of fashion figures such as teacher and designer <a href="https://www.tandfonline.com/doi/full/10.1080/1362704X.2020.1800991">Charlotte Bedford</a> (Wiradjuri), National Gallery of Victoria curator <a href="https://intellectdiscover.com/content/journals/10.1386/infs_00067_7">Shanae Hobson</a> (Kaantju) and @ausindigenousfashion founder and curator <a href="https://intellectdiscover.com/content/journals/10.1386/infs_00067_7">Yatu Widders Hunt</a> (Dunghutti and Anaiwan) prefer the terms “Indigenous fashion” or “First Nations fashion”.</p>
<h2>Moving forward</h2>
<p>While there is a <a href="https://indigenousx.com.au/appropriate-terminology-for-aboriginal-and-torres-strait-islander-people-its-complicated/">wide range of terminologies</a> and languages used within the First Nations fashion sector, it is time for a bigger discussion about a collective and holistic term. </p>
<p>By embracing a holistic term, First Nations fashion would have a new and inclusive definition. It could acknowledge both traditional and contemporary practices of our First Nations peoples, including the role of artists, and encompass everything from fashion runways to creating garments for galleries, as well as everyday First Nations style.</p>
<p>First Nations fashion is political. If you dig deep into fashion stories you will also hear many tales about racism, exclusion and discrimination, as well as <a href="https://oursonglines.com/blog/knowing-where-to-shop-for-survival-day">survival</a> and <a href="https://www.theguardian.com/fashion/ng-interactive/2020/nov/19/indigenous-fashion-is-the-future-its-time-for-first-nations-people-to-reclaim-it">healing</a>. </p>
<p>We are moving into a new chapter of <a href="https://www.firstpeoplesvic.org/wp-content/uploads/2021/03/tt-faqs.pdf">truth telling</a> and the sharing of how racism and discrimination have influenced First Nations clothing practices and the fashion industry.</p>
<p>In landing on a collective term we might better represent First Nations peoples’ fashion, art and style stories as well as their community, cultural and design contributions – the business of fashion in Australia itself.</p>
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Read more:
<a href="https://theconversation.com/indigenous-fashion-week-toronto-designers-are-showcasing-resistance-and-resurgence-151016">Indigenous Fashion Week Toronto designers are showcasing resistance and resurgence</a>
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<img src="https://counter.theconversation.com/content/201782/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Treena Clark has received funding through the University of Technology Sydney Chancellor’s Postdoctoral Research Fellowship scheme.</span></em></p><p class="fine-print"><em><span>Peter McNeil has received funding from Centre for Public History, University of Technology Sydney.</span></em></p>Wiradjuri woman Denni Francisco will be the first Indigenous designer to have a solo show at Australian Fashion Week.Treena Clark, Chancellor’s Postdoctoral Indigenous Research Fellow, Faculty of Design, Architecture and Building, University of Technology SydneyPeter McNeil, Distinguished Professor of Design History, UTS, University of Technology SydneyLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/1975172023-03-14T12:24:14Z2023-03-14T12:24:14Z‘Pantry porn’ on TikTok and Instagram makes obsessively organized kitchens a new status symbol<figure><img src="https://images.theconversation.com/files/514064/original/file-20230307-16-ldfmb1.jpg?ixlib=rb-1.1.0&rect=8%2C1023%2C3970%2C2667&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Influencers have started filming themselves shopping for supplies, prepping food, refilling containers and organizing their pantries.</span> <span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/photo/housewife-recording-video-reviewing-products-on-royalty-free-image/1347323041?phrase=filming pantry&adppopup=true">Valeriy_G/iStock via Getty Images Plus</a></span></figcaption></figure><p>Neatly aligned <a href="https://www.instagram.com/p/Cn7Nx7Wux9S/?hl=en">glass spice jars</a> tagged with printed white labels. <a href="https://www.instagram.com/p/CYq_ioGqQzU/?hl=en">Wicker baskets</a> filled with packages of pasta, crackers and snacks. Rows of flavored seltzer water stacked in double-decker <a href="https://www.tasteofhome.com/collection/best-drink-organizers-fridge/">plastic bins</a>.</p>
<p>In today’s consumer culture, “a place for everything and everything in its place” isn’t just a mantra; it’s big business. Nowhere is this more evident than the kitchen pantry.</p>
<p>Most people can relate to finding half-empty cereal boxes squirreled away in the cupboard or letting produce sit just a bit too long in a refrigerator drawer. </p>
<p>But for a subset of social media denizens, such sacrileges would never grace their feeds.</p>
<p>As someone who studies <a href="https://jennadrenten.com/">digital consumer culture</a>, I’ve noticed an uptick in glamorized, stylized and fully stocked pantries on TikTok and Instagram, giving rise to a content genre I dub “pantry porn.” </p>
<p>How did the perfectly organized pantry become so ubiquitous in the digital age? And what does it say about the expectations of being a good homemaker?</p>
<h2>When pantries became pretty</h2>
<p><a href="https://www.google.com/books/edition/The_Pantry/wSW30jYW7qEC?hl=en">The pantry</a> – derived from the Latin word for bread, “panis” – was originally a hidden space for storing food. It was purely functional, not a place to show off to others. In the late 1800s, the butler’s pantry emerged as an architectural trend among high society. This small space, tucked between the kitchen and dining room, was a marker of status – an area to hide both the food and <a href="https://doi.org/10.2307/4486064">the people who prepared it</a>. </p>
<p>Throughout the next century, pantries started being built in middle-class homes. As open floor plans became popular in the 1950s, <a href="https://www.theatlantic.com/family/archive/2018/05/the-curse-of-an-open-floor-plan/560561/">kitchens emerged into plain view</a>. This design shift paved the way for many modern American pantries to feature sweeping floor-to-ceiling, wall-to-wall cabinetry and walk-in storage spaces.</p>
<figure class="align-center ">
<img alt="Drawing of a woman entering a pantry with exposed shelves." src="https://images.theconversation.com/files/513778/original/file-20230306-16-b0vjid.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/513778/original/file-20230306-16-b0vjid.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=483&fit=crop&dpr=1 600w, https://images.theconversation.com/files/513778/original/file-20230306-16-b0vjid.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=483&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/513778/original/file-20230306-16-b0vjid.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=483&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/513778/original/file-20230306-16-b0vjid.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=607&fit=crop&dpr=1 754w, https://images.theconversation.com/files/513778/original/file-20230306-16-b0vjid.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=607&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/513778/original/file-20230306-16-b0vjid.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=607&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Bigger homes meant more space to store food.</span>
<span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/an-american-housewife-walks-into-her-large-kitchen-walk-in-news-photo/508414955">GraphicaArtis/Hulton Archive via Getty Images.</a></span>
</figcaption>
</figure>
<p>Today, over 85% of new homes built in America that are over 3,500 square feet feature a walk-in pantry, reportedly the most desirable kitchen feature for new homebuyers, according to <a href="https://www.realtor.com/advice/home-improvement/the-walk-in-kitchen-pantry-is-the-new-designer-shoe-closet/">a 2019 report</a>.</p>
<p>Celebrities can be credited – at least, in part – for making the pantry <a href="https://www.vice.com/en/article/k7e3yy/celebrity-kitchens-are-beautiful-barely-used-and-basically-one-big-flex">a modern-day status symbol</a>. The Kardashian-Jenner family has long been an exemplar for #pantrygoals, and former “Real Housewives” star Yolanda Hadid has social media fan pages <a href="https://www.bravotv.com/the-daily-dish/yolanda-foster-fridge-real-housewives-beverly-hills">dedicated to her fridge</a>. </p>
<p>In the digital age, social media influencers have stepped in as trickle-down tastemakers who translate symbols of celebrity culture into accessible markers of status for the rest of us. </p>
<p>Meticulously arranged pantries appeal to middle-class sensibilities: Maybe you can’t have a designer kitchen, but you can beautify your bulk food storage.</p>
<p><div data-react-class="InstagramEmbed" data-react-props="{"url":"https://www.instagram.com/p/CmZRpRWp5vq","accessToken":"127105130696839|b4b75090c9688d81dfd245afe6052f20"}"></div></p>
<h2>Move over food porn – make way for pantry porn</h2>
<p>Throughout the 2010s, <a href="https://doi.org/10.1016/j.ijhm.2022.103347">food porn</a> dominated social media. The so-called “<a href="https://www.kcrw.com/culture/shows/good-food/uyghur-cuisine-food-instagram-sake-tomatoes/social-media-influence-identity-what-we-eat">camera eats first</a>” phenomenon introduced user-generated images of cooking, eating and staging food. </p>
<p>Consumers’ <a href="https://www.cntraveler.com/story/why-restaurants-should-ban-food-instagramming">controversial obsession with food photography</a> resulted in some restaurants <a href="https://www.vice.com/en/article/j5jjkx/why-this-top-restaurant-just-banned-instagram">banning smartphone photography</a> while other businesses created veritable wonderlands for food-inspired selfies such as the <a href="https://www.wired.com/story/selfie-factories-instagram-museum/">Museum of Ice Cream</a> and <a href="https://www.bonappetit.com/story/the-egg-house-experience-review">The Egg House</a>. </p>
<p>New technology <a href="https://www.tandfonline.com/doi/abs/10.1080/22041451.2018.1482190">did not invent food porn</a>, but it did catalyze it in new ways. Consumers armed with camera phones could suddenly <a href="https://link.springer.com/chapter/10.1057/9781137463234_14">fetishize meals</a> for the voyeuristic pleasure of their friends and followers. This dynamic of <a href="https://www.taylorfrancis.com/chapters/edit/10.4324/9781003042587-29/big-brother-monitoring-lauren-gurrieri-jenna-drenten">watching and being watched</a> is a hallmark of modern digital consumer culture where nonsexual things are <a href="https://www.publicbooks.org/marcus-tribute-2020-pornography-porn/">linguistically tethered to porn</a>: food porn, travel porn, book porn, real estate porn. Coupling social media content with the “porn” descriptor acts as shorthand for desirability, gratification and gawking. </p>
<p>Pantry porn is a mashup of infotainment, <a href="https://www.tiktok.com/@lifewithdaniielle/video/7171185932987616555?is_from_webapp=1&sender_device=pc&web_id=7036403986962433542">how-to</a>, lifestyle content and <a href="https://www.tiktok.com/@kami.larae/video/7151014174787751214?q=pantry%20asmr&t=1675977877710">ASMR</a>, a form of <a href="https://www.vox.com/2015/7/15/8965393/asmr-video-youtube-autonomous-sensory-meridian-response">sound-driven content</a> intended to relax viewers.</p>
<p>Influencers film themselves shopping for supplies, prepping food, refilling containers, and organizing their pantries – often coupled with hashtags like #pantryrestock, #pantryASMR, and #pantrygoals. They <a href="https://www.tiktok.com/@ennyfay/video/7175946790255086853">transfer dry goods</a> from the store-bought bags into matching glassware; they stock the home coffee bar with <a href="https://www.tiktok.com/@makeitwithmicah/video/7185687916226678059?is_from_webapp=1&sender_device=pc&web_id=7036403986962433542">coffee pods</a> and <a href="https://www.tiktok.com/@bigmommakimbo7/video/7181952203928784174?is_from_webapp=1&sender_device=pc&web_id=7036403986962433542">flavored syrups</a>; they refill stackable bins with <a href="https://www.tiktok.com/@ssevcech/video/7076208728118250794?is_from_webapp=1&sender_device=pc&web_id=7036403986962433542">single-serving snacks</a>; they create multiple <a href="https://www.tiktok.com/@kaelimaee/video/7177846917873847594?is_from_webapp=1&sender_device=pc&web_id=7036403986962433542">types of ice cubes</a> – each with its own dedicated freezer section. Much of this pantry porn is performed against a backdrop of rhythmic ASMR-inspired clinks, glugs, snaps, rips and thunks that <a href="https://doi.org/10.1016/j.concog.2023.103477">appeal to viewers’ pleasure centers</a>. </p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/509282/original/file-20230209-24-vl0053.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/509282/original/file-20230209-24-vl0053.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=331&fit=crop&dpr=1 600w, https://images.theconversation.com/files/509282/original/file-20230209-24-vl0053.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=331&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/509282/original/file-20230209-24-vl0053.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=331&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/509282/original/file-20230209-24-vl0053.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=416&fit=crop&dpr=1 754w, https://images.theconversation.com/files/509282/original/file-20230209-24-vl0053.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=416&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/509282/original/file-20230209-24-vl0053.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=416&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Screenshots of snack drawer restock videos on TikTok.</span>
<span class="attribution"><span class="source">TikTok</span></span>
</figcaption>
</figure>
<p>Like its food porn predecessor, pantry porn thrives on stylizing everyday life in exaggerated ways. But where food porn <a href="https://theconversation.com/foodporn-people-are-more-attracted-to-social-media-content-showcasing-fatty-foods-160221">elicits a desire for gluttonous indulgence</a>, pantry porn taps into a different cultural desire: the orderly arrangement of abundance.</p>
<h2>Excess is bad, but organized excess is good</h2>
<p>The past decade has ushered in a <a href="https://doi.org/10.1111/joca.12499">home organizing revolution</a>. </p>
<p>An entire cottage industry of <a href="https://organizingmoms.com/">blogs</a>, <a href="https://shop.konmari.com/products/the-life-changing-magic-of-tidying-up-1">books</a> and <a href="https://www.containerstore.com/blog/posts/get-organized-with-the-home-edit">television shows</a> have introduced people to terms like “decluttering,” “minimalism” and “simple living.” </p>
<p>Minimalism once represented a countercultural lifestyle rooted in <a href="https://www.taylorfrancis.com/chapters/edit/10.4324/9780367821586-4/evolution-voluntary-simplicity-stephen-zavestoski-marilyn-delaure">anti-consumption</a>: Use less, buy less, have less. </p>
<p>But if pantry porn is any indication, the <a href="https://www.newyorker.com/magazine/2020/02/03/the-pitfalls-and-the-potential-of-the-new-minimalism">new minimalism</a> means more is more, as long as the more is not messy. Consumers don’t need less, they need more: more containers, more labels, more storage space. </p>
<p>Storing spices in <a href="https://www.hunker.com/13776442/hailey-bieber-built-in-spice-shelf">coordinated glass jars</a> and color coordinating dozens of <a href="https://www.cheatsheet.com/entertainment/kylie-jenner-shows-off-pantry-sprinkles.html/">sprinkles containers</a> may seem trivial. But tidiness <a href="https://doi.org/10.1086/676922">is tangled up with status</a>, and <a href="https://www.thecut.com/2023/02/embracing-mess-vs-cleanliness.html">messiness is loaded with assumptions</a> about personal responsibility and respectability.</p>
<p>Cleanliness has historically been used as a <a href="https://doi.org/10.2307/1894408">cultural gatekeeping mechanism</a> to reinforce status distinctions based on a vague understanding of “niceness”: nice people, with nice yards, in nice houses, make for <a href="https://doi.org/10.1111/j.1548-7466.2009.01047.x">nice neighborhoods</a>.</p>
<p>What lies beneath the surface of this anti-messiness, pro-niceness stance is a <a href="https://doi.org/10.13001/jwcs.v1i1.5809">history of classist</a>, <a href="https://doi.org/10.1353/jowh.2003.0025">racist</a> and <a href="https://doi.org/10.1353/jowh.2006.0056">sexist</a> social structures. In my research, influencers who produce pantry porn are predominantly white women who demonstrate what it looks like to maintain a “nice” home by creating a new status symbol: the perfectly organized, fully stocked pantry. </p>
<p><div data-react-class="InstagramEmbed" data-react-props="{"url":"https://www.instagram.com/p/CoGkz58oWXp","accessToken":"127105130696839|b4b75090c9688d81dfd245afe6052f20"}"></div></p>
<p>Perhaps it’s not surprising that pantry porn found its foothold <a href="https://www.apartmenttherapy.com/home-organization-pandemic-trend-home-edit-36827645">during the COVID-19 pandemic</a>, when shortages in the supply chain surged. Keeping stuff on hand became <a href="https://doi.org/10.1016%2Fj.appet.2020.104981">a symbol of resilience</a> for those with the money and space to do so. This allure of strategic stockpiling is evident in other collector subcultures like doomsday preppers and extreme couponers.</p>
<h2>The pressure of the perfect kitchen</h2>
<p><a href="https://doi.org/10.1177/15274764221150163">The work</a> required to restock, refill, and reset the kitchen is a central element in producing everyday pantry porn. </p>
<p>In my research, I’ve found that this work often falls to women in the household. One TikTok mom goes on a “<a href="https://www.tiktok.com/@lifewithdaniielle/video/7138922368965152046">snack strike</a>,” stating she will not <a href="https://www.tiktok.com/@lifewithdaniielle/video/7145935660875156782">restock the pantry</a> until her children and husband eat what they already have.</p>
<p>Magazines like Good Housekeeping were once the brokers of <a href="https://doi.org/10.2752/174063106778053255">idealized domestic work</a>. Now online pantry porn sets the aspirational standard for becoming an ideal mom, ideal wife and ideal woman. This grew out of a shift toward an <a href="https://yalebooks.yale.edu/book/9780300076523/the-cultural-contradictions-of-motherhood/">intensive mothering ideology</a> that equates being a good mom with time-intensive, labor-intensive, financially expensive care work. </p>
<p>Sure, all of those baskets and bins serve a functional purpose in the home: seeing what you need, when you need it. But the social pressure to curate a perfect pantry might make <a href="https://cultureunbound.ep.liu.se/article/view/1021">some women work overtime</a>. They can’t just shove store-bought boxes of snacks into a cupboard; they must neatly place the grab-and-go snacks into a <a href="https://www.tiktok.com/@shadiersandy/video/7167154682006179115?is_from_webapp=1&sender_device=pc&web_id=7036403986962433542">fully stocked pantry</a> that rivals a boutique corner store. </p>
<p>Pantry porn, as a status symbol, relies on the promise of making daily domestic work easier. But if women are largely responsible for the work required to maintain the perfectly organized pantry, it’s critical to ask: easier for whom?</p><img src="https://counter.theconversation.com/content/197517/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Jenna Drenten does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>Maybe you can’t have a designer kitchen. But you can still beautify your bulk food storage.Jenna Drenten, Associate Professor of Marketing, Loyola University ChicagoLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/2010542023-03-06T17:15:28Z2023-03-06T17:15:28ZPikachu to depart: a brief history of the world’s favourite Pokémon<p>In the run-up to <a href="https://www.polygon.com/pokemon/23616619/pokemon-presents-day-2023-direct-announcements-all-trailers">Pokémon Day</a> – an anniversary created to celebrate the <a href="https://www.gamingbible.com/features/nintendo-pokemon-red-blue-and-green-how-the-nintendo-game-boy-hits-were-made-20210219">first Pokémon video game</a>, released on February 27 1996 – a small but significant piece of news was announced. </p>
<p>There is to be a new Pikachu character, named <a href="https://www.thegamer.com/pikachu-is-dead-long-live-captain-pikachu/">Captain Pikachu</a>. This Pikachu will partner with a new human, Professor Friede, in an animated series based on the most recent video game: <a href="https://scarletviolet.pokemon.com/en-gb/">Pokémon Scarlet and Violet</a>. </p>
<p>The pokémon has been a global marketing tool for Nintendo products for over 25 years. Fans are used to seeing Pikachu dressed in all manner of outfits, including 2019’s <a href="https://www.youtube.com/watch?v=1roy4o4tqQM">Detective Pikachu</a>. </p>
<p>However, the announcement followed a seismic shift in the animated franchise. Pikachu’s longtime child partner, Ash, finally achieved his goal of becoming a Pokémon Champion at the end of 2022. As a result, the Pokémon Company confirmed that the character would <a href="https://www.cbsnews.com/news/pokemon-ash-ketchum-pikachu-leaving-show/">bow out of the television series</a> in early 2023. </p>
<p>In response, fans on the social media platform <a href="https://www.reddit.com/r/pokemon/comments/zo0rmi/so_is_pikachu_still_gonna_be_the_mascot_now/">Reddit</a> asked what would happen to Pikachu. How could he possibly continue without Ash in future stories? </p>
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<a href="https://theconversation.com/pokemons-ash-wins-world-championship-after-25-years-heres-why-the-franchise-is-still-capturing-fans-194788">Pokémon's Ash wins World Championship after 25 years – here's why the franchise is still capturing fans</a>
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<p>Without the iconic character, Nintendo would lose more than just an important piece of intellectual property – they would lose the heart of what makes the franchise so endearing, so it’s no surprise to see Pikachu’s return, albeit in a different guise.</p>
<h2>Why is Pikachu so popular?</h2>
<p>Pikachu was not necessarily destined for great popularity. He was not a standout “pocket monster” in Nintendo’s first Game Boy Pokémon title, Red and Green, but was one among 151 creatures that children could choose to play with. </p>
<p>The Pokémon video game was quickly followed by the <a href="https://www.pokemon.com/us/pokemon-tcg">trading card game</a> in October 1996, where players could pick from a range of cards to battle or trade with a friend. </p>
<p><a href="https://www.ign.com/games/pokemon-green-version">Early audiences</a> were entirely domestic as the game was not available outside Japan. However, when <a href="http://fj.webedia.us/features/father-pokemon-japanese-producer-masakazu-kubo-saluted-copyright-educator">Kubo Masakazu</a>, a comic book publisher and manga enthusiast, was hired by Nintendo to take Pokémon beyond the national market, he immediately saw the potential to build a global franchise and audience around one character: Pikachu. </p>
<p>Masakazu developed the animated television series and movies, focusing the stories on a trio of young travellers – Ash, Misty and Brock. Each traveller had a partner pokémon that would never be tucked away in a pokéball (devices in which pokémon are captured and stored), with personalities of their own. </p>
<p>As author Anne Allison described in <a href="https://www.ucpress.edu/book/9780520245655/millennial-monsters">Millennial Monsters</a> (2006), this new empire of entertainment (games, trading cards, a TV show and films) was based on Masakazu’s vision of harmony. This was shown in the way humans and pocket monsters live side by side, treating each other with kindness and love. The bond between Ash and Pikachu is at the heart of Pokémon’s global success.</p>
<p><a href="https://www.dukeupress.edu/pink-globalization"><em>Kawaii</em></a>, or cuteness, is a profitable Japanese cultural export and the Pikachu character personifies its success. Pikachu’s appeal lies in the character’s design, backed up by <a href="https://www.youtube.com/watch?v=2G8V00SkTvY">his emotional resonance</a>, which is developed in the animated series and films. </p>
<p>Pikachu’s colour and frame are easily recognisable and can be <a href="https://screenrant.com/pokemon-pikachu-design-changes-red-blue-detective-movie/">redrawn in any style</a>. The name is catchy and repeatable, whether or not you are a native Japanese speaker. The character is small and huggable and helps children develop feelings of <a href="https://www.tandfonline.com/doi/abs/10.1080/1368879032000162220">attachment, nurturance and intimacy</a> when they play with Pikachu toys. </p>
<p>These visual features are reinforced by Pikachu’s personality and powers. He is loyal to Ash, brave in front of countless challenges and conveys emotions openly through facial expressions, noises and constant affirmation of who he is: “<a href="https://www.youtube.com/watch?v=wY9gKpFmy64">Pika, Pika, Pikachu!</a>”</p>
<p>Famously, in the animated series, Ash’s Pikachu does not wish to evolve (the process through which a pokémon can change form, grow stronger and gain new abilities). This goes against the internal logic of the game where players must care for and evolve their pokémon to help them win more battles.</p>
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<figcaption><span class="caption">Ash explains why Pikachu doesn’t want to evolve.</span></figcaption>
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<p>Therefore, Pikachu’s strength comes from his individual identity as the Pikachu, not a Pikachu. Ash’s Pikachu is unique. So while countless others have been encountered in the games and animated series, they are not the same as his Pikachu. Or, more importantly, they are not the same as our Pikachu. </p>
<p>The <a href="http://henryjenkins.org/blog/2010/06/transmedia_education_the_7_pri.html">multiplicity</a> of the character – that he is both the same as and different from other versions in the same entertainment universe – allows Pokémon to create new stories and scenarios without disrupting the overall backstory or inherent qualities of the Pikachu character. </p>
<p>This is how Pikachu has managed to be both the image of a global corporate brand and a distinctly familiar and individual partner on Ash’s journey. The children who grew up watching his adventures with Ash are now adults who can still reconnect with him because their relationship with the character was developed over multiple games, TV series and films. </p>
<p>Now that Ash is retiring, our Pikachu can too. His memory will continue in the minds of multi-generational fans while the <em>kawaii</em> Nintendo still wants to export will continue through the familiar design and distinct new personality of his successor: Captain Pikachu.</p><img src="https://counter.theconversation.com/content/201054/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Lincoln Geraghty does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>Ash Ketchum is retiring from the Pokémon franchise, but this doesn’t spell the end of Pikachu.Lincoln Geraghty, Professor of Media Cultures, University of PortsmouthLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/2008792023-03-02T16:55:41Z2023-03-02T16:55:41ZAnimal architecture: why we need to design buildings for wildlife as well as people<p>How did early humans first learn to build? It’s quite possible that it was by <a href="https://www.google.co.uk/books/edition/The_Ten_Books_on_Architecture/iu9-WP-5GYAC?hl=en&gbpv=1&printsec=frontcover">observing animals</a> that had already mastered the art. Indeed, when you look at the animal world many birds, insects and mammals are excellent architects and builders.</p>
<p>Beavers are quite literally landscape engineers – they’re being <a href="https://www.theguardian.com/commentisfree/2022/oct/11/beavers-britain-climate-crisis-england-protecting-rivers">reintroduced</a> in the UK to help fight against the increased incidence and severity of flooding caused by climate change. </p>
<p>Social insects like <a href="https://www.youtube.com/watch?v=-Blqi5qcGlE">bees</a>, <a href="https://theconversation.com/wasps-why-i-love-them-and-why-you-should-too-155982">wasps</a>, <a href="https://theconversation.com/in-defence-of-ants-186220">ants</a> and <a href="https://theconversation.com/lets-mimic-termite-nests-to-keep-human-buildings-cool-115534">termites</a> construct what many have described as the animal equivalents of human cities. </p>
<p><a href="https://theconversation.com/spider-legs-build-webs-without-the-brains-help-providing-a-model-for-future-robot-limbs-153561">Spiders</a> and silkworms have long been regarded as expert builders in the <a href="https://theconversation.com/why-we-cant-spin-a-silken-yarn-as-strong-as-a-spider-can-71003">weaving of their silk webs</a>. While other creatures like <a href="https://www.youtube.com/watch?v=uIR_vSRASxM">foxes</a>, <a href="https://www.livescience.com/52297-moles.html">moles</a> and <a href="https://badgerwatcher.com/2010/02/21/how-to-recognise-a-badger-sett/">badgers</a> build by excavating the ground. </p>
<p>Then there are the animals that carry their homes on their backs – the shells of <a href="https://theconversation.com/curious-kids-what-is-snail-slime-and-why-is-it-shiny-192424">snails</a> and <a href="https://theconversation.com/how-did-the-turtle-get-its-shell-fossil-discovery-gives-us-a-clue-43800">turtles</a>, for example, are both extensions of and protection for their vulnerable soft bodies.</p>
<h2>Beyond human</h2>
<p>We might <a href="https://theconversation.com/meerkats-how-we-used-radar-to-reveal-the-underground-maze-they-call-home-90878">admire and even imitate</a> animal architecture, but when it comes to human-designed buildings, we are usually extremely selective about what kinds of creatures we allow in. </p>
<p>In general, animals are only ever designed for when they are of use to humans – whether as livestock, domestic pets, spectacles to consume in zoos and aquariums, or objects of scientific manipulation in laboratories. </p>
<p>If animals can’t be put to use, they’re usually ignored. And if those animals take it upon themselves to <a href="https://theconversation.com/how-the-red-fox-adapted-to-life-in-our-towns-and-cities-77439">inhabit buildings</a>, they’re invariably regarded as <a href="https://theconversation.com/super-rats-or-sickly-rodents-our-war-against-urban-rats-could-be-leading-to-swift-evolutionary-changes-125902">pests</a> and dealt with accordingly.</p>
<p>In my new book, <a href="https://reaktionbooks.co.uk/work/animal-architecture">Animal Architecture: Beasts, Buildings and Us</a>, I look at why we should build for animals as well as people. Indeed, wildlife is all around us and is already living in or around most of our homes, anyway. </p>
<p>Examples in the book include spiders spinning their webs in the dark corners of rooms. Swallows finding ideal purchase on brick walls for their saliva and mud-based nest cups. Rats making their homes in the subterranean spaces of the city. And cats and dogs appropriating our furniture and fittings as their own places of rest. </p>
<p>There’s hardly any part of the human-built environment that can’t be inhabited or changed by insects, animals and birds. It’s easy enough to understand how this works in relation to animals that are classed as pets. It’s generally taken for granted that pet owners know how to care for their animals. But it’s much harder to care for animals that are mostly regarded as unwelcome intruders into buildings. </p>
<h2>Animal estates</h2>
<p>A powerful example of the potential breadth of such interspecies awareness is artist Fritz Haeg’s <a href="https://www.fritzhaeg.com/garden/initiatives/animalestates/main2.html">Animal Estates</a> project, which ran from 2008 until 2013. In nine different cities, Haeg organised events to encourage participation in creating structures that would be attractive to a variety of native species, including bats, birds and insects. </p>
<p>As well as building structures for animals to inhabit, the project also hosted events designed to stimulate interest and knowledge about native animals (and, in many cases, to encourage urban dwellers to make structures themselves). This holistic approach to ecological design aimed to foster more care for animals in cities – animals that would probably otherwise go unnoticed. </p>
<p>Other wildlife-inspired architectural projects include the non-profit organisation <a href="http://www.expandedenvironment.org/aboutanimalarchitecture/">The Expanded Environment</a>, which provides helpful online resources on how to care for a much wider range of animals in relation to architecture – most notably in their collaborative design proposals and annual competitions for novel types of animal design. </p>
<p>The material on their website expands ideas about what might be considered appropriate animals for designers to work with as “clients”. Insects appear alongside dogs and cats, birds with lizards and bats with oysters.</p>
<h2>Housing the non-human</h2>
<figure class="align-left zoomable">
<a href="https://images.theconversation.com/files/512897/original/file-20230301-24-4ic5cs.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Tower that houses bats" src="https://images.theconversation.com/files/512897/original/file-20230301-24-4ic5cs.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/512897/original/file-20230301-24-4ic5cs.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=878&fit=crop&dpr=1 600w, https://images.theconversation.com/files/512897/original/file-20230301-24-4ic5cs.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=878&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/512897/original/file-20230301-24-4ic5cs.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=878&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/512897/original/file-20230301-24-4ic5cs.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1103&fit=crop&dpr=1 754w, https://images.theconversation.com/files/512897/original/file-20230301-24-4ic5cs.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1103&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/512897/original/file-20230301-24-4ic5cs.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1103&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">A contemporary reconstruction of Charles A. Campbell’s Municipal Bat House (1914), near Comfort, Texas, 2009.</span>
<span class="attribution"><span class="source">Wikimedia Commons, Larry D. Moore/cc-by-sa 4.0 International</span>, <a class="license" href="http://creativecommons.org/licenses/by-sa/4.0/">CC BY-SA</a></span>
</figcaption>
</figure>
<p>Ultimately thinking beyond just people is important because all lifeforms create their own environments – and what humans generally call “the environment” is in reality the sum of these creations. Why then does the idea that humans live outside of the environment persist so strongly? </p>
<p>Perhaps, as any therapist will likely tell you, losing a fantasy is always much harder than losing a reality. Yet, as is all too obvious, the persistence of the fantasy of <a href="https://psyche.co/ideas/human-exceptionalism-imposes-horrible-costs-on-other-animals">human exceptionalism</a> is now endangering all life on the planet. </p>
<p>It is humans, and humans alone, who dominate every corner of the environment, while at the same time asserting they are actually removed from that environment. If my book has one core aim, it is to encourage readers to think beyond humans in the way we imagine, design and live in our buildings and cities.</p><img src="https://counter.theconversation.com/content/200879/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Paul Dobraszczyk does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>Our lives are intertwined with animals, insects and birds – we should consider them more when we design our cities.Paul Dobraszczyk, Lecturer in Architecture, UCLLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/1992672023-02-28T13:27:28Z2023-02-28T13:27:28ZDALL-E 2 and Midjourney can be a boon for industrial designers<figure><img src="https://images.theconversation.com/files/512525/original/file-20230227-24-rbvmaq.jpg?ixlib=rb-1.1.0&rect=61%2C33%2C3669%2C2763&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">A volcano-themed tissue box designed with the help of AI-assisted image generation.</span> <span class="attribution"><span class="source">Juan Noguera</span>, <a class="license" href="http://creativecommons.org/licenses/by-sa/4.0/">CC BY-SA</a></span></figcaption></figure><p>Since the introduction of DALL-E 2 and ChatGPT, there has been a fair amount of <a href="https://theconversation.com/chatgpt-and-cheating-5-ways-to-change-how-students-are-graded-200248">hand-wringing</a> about AI technology – some of it justified. </p>
<p>It’s true that the technology’s future is unclear. There is great debate about <a href="https://www.mediaethicsmagazine.com/index.php/browse-back-issues/219-fall-2022-vol-34-no-1/3999403-an-extension-of-the-artist-dall-e-2-and-the-ethical-challenges-of-ai-art">the ethics</a> of using existing artwork, images and content to train these AI products, <a href="https://theconversation.com/chatgpt-dall-e-2-and-the-collapse-of-the-creative-process-196461">and concern</a> about what industries <a href="https://theconversation.com/ai-and-the-future-of-work-5-experts-on-what-chatgpt-dall-e-and-other-ai-tools-mean-for-artists-and-knowledge-workers-196783">it will displace or change</a>. And it seems as if an AI arms race between companies like <a href="https://blogs.microsoft.com/blog/2023/02/07/reinventing-search-with-a-new-ai-powered-microsoft-bing-and-edge-your-copilot-for-the-web/">Microsoft</a> and <a href="https://blog.google/technology/ai/bard-google-ai-search-updates/">Google</a> is already underway. </p>
<p>And yet as an <a href="http://www.no.gt">industrial designer and professor</a>, I’ve found AI image generation programs to be a fantastic way to improve the design process. </p>
<p>They don’t replace the valuable insights and critical thinking skills I’ve accumulated from years of experience. But they do spark creativity and expand the range of what’s possible with the products my students and I design.</p>
<h2>A peek behind the design curtain</h2>
<p><a href="https://www.idsa.org/what-industrial-design">Industrial design</a> involves creating everyday objects, with a particular focus on their form and function. Industrial designers have a hand in anything from furniture and consumer electronics to accessories and apparel. </p>
<p>A typical design process involves lots of research and talking to consumers about their needs. From there, designers brainstorm ideas and sketch them out, followed by the prototyping and fabrication stage. Finally, the objects get refined and manufactured. </p>
<p>During the early stages of brainstorming, designers spend a lot of time with their sketchbooks, getting inspired by their immediate environment, by history books and by their own experiences. The internet also plays a big role – it’s where designers collect many of the images they use to create <a href="https://www.dictionary.com/browse/inspiration-board">inspiration boards</a>. Famously, <a href="https://www.hodinkee.com/magazine/jony-ive-apple">Jonathan Ive</a>, who designed many iconic Apple products, looked at luxury watches as inspiration for the Apple Watch, using the “<a href="https://www.uniformwares.com/wp-content/uploads/2021/07/watch-crown.png">crown</a>” – normally used to wind a mechanical watch and set the time – as an input device to allow users to scroll through content.</p>
<p>AI has given designers like myself the ability to generate images just based on a simple text prompt. Tools like <a href="https://towardsdatascience.com/dall-e-2-explained-the-promise-and-limitations-of-a-revolutionary-ai-3faf691be220">DALL-E</a> or <a href="https://www.midjourney.com/home/">Midjourney</a> let us input abstract concepts and turn them into a flood of images. </p>
<p>Enter any sentence – no matter how crazy – and you’ll receive a set of unique images generated just for you. Want to design a teapot? Here, have 1,000 of them. Some may have a dinosaur shape; others may be made of mashed potatoes. </p>
<p>While only a small subset of them may be usable as a teapot, they provide a seed of inspiration that the designer can nurture and refine into a finished product. </p>
<h2>From nostalgia to a tissue box</h2>
<p>Perhaps a handful of those 1,000 teapot images allow a designer to conceive of a new, unexpected shape that is easier to hold, more economical to manufacture or more beautiful to look at. Generative AI can facilitate the brainstorming process, but it’s still the designer’s responsibility to make the choices that ultimately lead to products that enrich people’s lives.</p>
<p>Recently, I have found myself using AI image generators like DALL-E and Midjourney to explore complex ideas that might be difficult or time-consuming to articulate and channel into a physical product. For example, for one project, I wanted to create objects that really connected people, in a deep way, to a place they had visited or lived in – as opposed to the refrigerator magnet souvenirs that tourists often end up buying.</p>
<p>So I decided to design a set of small household objects to be sold to tourists visiting the small colonial town of <a href="https://www.nytimes.com/2019/01/21/t-magazine/antigua-guatemala-travel-guide.html">Antigua, Guatemala</a>, just a few miles from where I grew up. I wanted the objects to elicit nostalgia about the town – and perhaps inspire those who purchased them to want to return.</p>
<p>I began by prompting DALL-E for tabletop objects that were nostalgic. The results were hilarious and unexpected. I received images of objects that looked sad, like erasers and a tissue box with a frown. It had taken my prompt very literally. </p>
<p>Then I got more specific, inserting “Antigua” into my prompts. The results started including iconic symbols of the town – the volcanoes that surround it, the cobblestone streets, the colonial architecture.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/510110/original/file-20230214-1098-t9fpa3.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Images of the AI concept generation process." src="https://images.theconversation.com/files/510110/original/file-20230214-1098-t9fpa3.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/510110/original/file-20230214-1098-t9fpa3.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=300&fit=crop&dpr=1 600w, https://images.theconversation.com/files/510110/original/file-20230214-1098-t9fpa3.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=300&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/510110/original/file-20230214-1098-t9fpa3.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=300&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/510110/original/file-20230214-1098-t9fpa3.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=377&fit=crop&dpr=1 754w, https://images.theconversation.com/files/510110/original/file-20230214-1098-t9fpa3.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=377&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/510110/original/file-20230214-1098-t9fpa3.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=377&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">In the left column are images generated by OpenAI’s DALL-E when the author prompted it to come up with nostalgic desktop objects. The middle columns represent refined inputs for tabletop objects that represent the city of Antigua. The column on the right are composites created by the author before proceeding with the traditional design process.</span>
<span class="attribution"><span class="source">Juan Noguera</span>, <a class="license" href="http://creativecommons.org/licenses/by-sa/4.0/">CC BY-SA</a></span>
</figcaption>
</figure>
<p>After a little sketching, I narrowed down the results further by inputting “tissue boxes” and “eruption of tissue.” </p>
<p>From there, I continued playing around in my sketchbook and eventually created a Photoshop mock-up of a tissue box shaped like the Volcán de Agua, or “Water Volcano,” which lies south of the city. </p>
<p>I then used my traditional design skills to create a 3D computer drawing of it – also known as a “<a href="https://www.designlaunchers.com/what-is-3d-cad-modeling">CAD model</a>” – using actual terrain data from the volcano, and fabricated a fully functional and manufacturable object. </p>
<figure class="align-center ">
<img alt="3D model created of a volcano-topped tissue box based on the AI-generated images and the author's own sketches that resulted from them." src="https://images.theconversation.com/files/510107/original/file-20230214-28-s66z91.gif?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/510107/original/file-20230214-28-s66z91.gif?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=302&fit=crop&dpr=1 600w, https://images.theconversation.com/files/510107/original/file-20230214-28-s66z91.gif?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=302&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/510107/original/file-20230214-28-s66z91.gif?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=302&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/510107/original/file-20230214-28-s66z91.gif?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=380&fit=crop&dpr=1 754w, https://images.theconversation.com/files/510107/original/file-20230214-28-s66z91.gif?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=380&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/510107/original/file-20230214-28-s66z91.gif?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=380&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">A 3D model of a volcano-topped tissue box based on AI-generated images and the author’s ensuing sketches.</span>
<span class="attribution"><span class="source">Juan Noguera</span>, <a class="license" href="http://creativecommons.org/licenses/by-sa/4.0/">CC BY-SA</a></span>
</figcaption>
</figure>
<p>Continuing with the volcano theme, I decided to create a companion object of the neighboring Volcán de Fuego, or “Fire Volcano,” which is constantly active and erupting. Fire made me think of matches, and I prompted the AI to generate images of volcano-shaped matchstick holders. </p>
<p>The results weren’t great. But they were good enough to help me imagine a small cast-iron object that could hold some stormproof matches, which I chose because when placed on the holder, they evoked a lava-filled eruption. </p>
<p>To me, the tissue box and matchbox holder are perfect homages to Antigua and all the memories this place holds for me, good and bad. The fire volcano matchstick holder conveys excitement and adventure, while the tissue box evokes tears, longing and nostalgia. </p>
<p>Even though I made all of the design choices, the AI generator helped me navigate my abstract design goals. </p>
<p>It’s hard to say if I would have landed on these prototypes on my own.</p>
<figure class="align-center ">
<img alt="Prototypes of a volcano-themed tissue box and matchstick holder." src="https://images.theconversation.com/files/510101/original/file-20230214-22-ovdk2s.jpg?ixlib=rb-1.1.0&rect=0%2C0%2C4031%2C3024&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/510101/original/file-20230214-22-ovdk2s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=450&fit=crop&dpr=1 600w, https://images.theconversation.com/files/510101/original/file-20230214-22-ovdk2s.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=450&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/510101/original/file-20230214-22-ovdk2s.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=450&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/510101/original/file-20230214-22-ovdk2s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=566&fit=crop&dpr=1 754w, https://images.theconversation.com/files/510101/original/file-20230214-22-ovdk2s.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=566&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/510101/original/file-20230214-22-ovdk2s.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=566&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">The tissue box, Agua, was modeled using the the terrain data of the real volcano of the same name.</span>
<span class="attribution"><span class="source">Juan Noguera</span>, <a class="license" href="http://creativecommons.org/licenses/by/4.0/">CC BY</a></span>
</figcaption>
</figure>
<h2>Opening new creative doors</h2>
<p>AI technology is not going away anytime soon. As an educator, I believe it would be irresponsible to not explore, with my students, the ways in which it can improve the design process. </p>
<p>In the fall semester of the 2022-2023 academic year, I had my graduate students at the Rochester Institute of Technology use AI image generation to develop their own products. <a href="https://www.core77.com/posts/117169/Unexpected-outcomes-when-design-students-use-AI-as-part-of-their-process">The results were impressive</a>, with students creating an electric violin, a chair inspired by fruit and shoes made out of fungus. They all used AI in a different way, but they all noted how it led them down an unexpected path. </p>
<figure class="align-center ">
<img alt="Prototype of a furturistic-looking electric violin." src="https://images.theconversation.com/files/510144/original/file-20230214-20-ic2z1b.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/510144/original/file-20230214-20-ic2z1b.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/510144/original/file-20230214-20-ic2z1b.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/510144/original/file-20230214-20-ic2z1b.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/510144/original/file-20230214-20-ic2z1b.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/510144/original/file-20230214-20-ic2z1b.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/510144/original/file-20230214-20-ic2z1b.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">An electric violin designed by Rochester Institute of Technology graduate student Jayden Zhou.</span>
<span class="attribution"><span class="source">Jayden Zhou</span>, <a class="license" href="http://creativecommons.org/licenses/by-sa/4.0/">CC BY-SA</a></span>
</figcaption>
</figure>
<p>When I read alarmist articles about this new technology, I’ll sometimes think back to the early days of 3D modeling systems and how some people thought they would replace designers and artists. Those fears were ultimately dispelled, and designers never went back to the large blueprints and drafting boards of old. </p>
<p>Just as Google can make it easier for a journalist to conduct research for an article or find someone to interview, I believe AI can serve as a valuable wellspring of inspiration in the designer’s toolbox.</p><img src="https://counter.theconversation.com/content/199267/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Juan Noguera does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>During the brainstorming stage of the design process, AI-powered image generation programs can open creative doors that may have otherwise never been accessed.Juan Noguera, Assistant Professor of Design, Rochester Institute of TechnologyLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/1955932022-12-30T08:27:09Z2022-12-30T08:27:09ZFive human technologies inspired by nature – from velcro to racing cars<figure><img src="https://images.theconversation.com/files/500467/original/file-20221212-114007-p3m533.jpg?ixlib=rb-1.1.0&rect=0%2C0%2C3055%2C2024&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Many of humanity's innovations have taken inspiration from the natural world.</span> <span class="attribution"><a class="source" href="https://www.shutterstock.com/image-photo/great-white-shark-carcharodon-carcharias-surface-1706225779">Alessandro De Maddalena/Shutterstock</a></span></figcaption></figure><p>Nature has, over millions of years, evolved solutions to adapt to an array of challenges. As the challenges facing humanity become more complex, we are seeing inspiration being increasingly drawn from nature. </p>
<p>Taking biological processes and applying them to technological and design problems is called <a href="https://www.sciencedirect.com/topics/agricultural-and-biological-sciences/bioinspiration">bioinspiration</a>. This is a fast-growing field, and our ability to copy nature is becoming more sophisticated. Here are five striking examples where nature has guided human innovation – and in some cases, could lead to even more exciting breakthroughs. </p>
<h2>1. Navigation</h2>
<p>Using <a href="https://www.nps.gov/subjects/bats/echolocation.htm">echolocation</a>, bats are able to fly in <a href="https://www.sciencedirect.com/science/article/pii/B9780128093245210316">complete darkness</a>. They emit sound and ultrasound waves, then monitor the time and magnitude of these waves’ reflections to create <a href="https://www.sciencedirect.com/science/article/abs/pii/S1071581907000833">three-dimensional spatial maps</a> of their surroundings. </p>
<p>The sensors that identify obstacles when reversing in many modern cars are <a href="https://www.techbriefs.com/component/content/article/tb/pub/features/articles/36374">inspired</a> by bat navigation. The direction and distance of an obstacle is calculated by emitting ultrasound waves which reflect off objects in a car’s path.</p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/498452/original/file-20221201-6347-cjueta.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/498452/original/file-20221201-6347-cjueta.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=429&fit=crop&dpr=1 600w, https://images.theconversation.com/files/498452/original/file-20221201-6347-cjueta.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=429&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/498452/original/file-20221201-6347-cjueta.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=429&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/498452/original/file-20221201-6347-cjueta.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=539&fit=crop&dpr=1 754w, https://images.theconversation.com/files/498452/original/file-20221201-6347-cjueta.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=539&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/498452/original/file-20221201-6347-cjueta.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=539&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">The echolocation concept has been adopted by many technologies in modern life, Amin Al-Habaibeh, Author provided.</span>
</figcaption>
</figure>
<p>Sensory navigation technologies have also been <a href="https://www.sciencedirect.com/science/article/pii/S1877050915031312">proposed</a> to improve the safety of those with restricted vision. Ultrasound sensors installed on the human body would offer sound-based feedback of a person’s surroundings. This would allow them to move more freely by eliminating the threat of obstacles.</p>
<h2>2. Construction equipment</h2>
<p>Woodpeckers <a href="https://www.batzner.com/resources/blog-posts/why-woodpeckers-peck-and-prevent-them-from-pecking-your-house/#:%7E:text=They%20peck%20at%20wood%20to,is%20attached%20to%20a%20building.">knock</a> on the hard surface of trees to forage for food, build nests and attract a mate. Construction tools, such as handheld hydraulic and pneumatic hammers, mimic the <a href="https://apologeticspress.org/the-jackhammer-in-your-backyard-2315/">vibrating bill of a woodpecker</a> using a frequency roughly equivalent to a woodpecker’s hammering (<a href="https://www.sciencedirect.com/science/article/abs/pii/S1672652914600457">20 to 25 Hz</a>). </p>
<figure class="align-center ">
<img alt="A woodpecker feeding chicks in its nest in a hole of a tree." src="https://images.theconversation.com/files/499263/original/file-20221206-25-zf8fph.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/499263/original/file-20221206-25-zf8fph.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/499263/original/file-20221206-25-zf8fph.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/499263/original/file-20221206-25-zf8fph.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/499263/original/file-20221206-25-zf8fph.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/499263/original/file-20221206-25-zf8fph.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/499263/original/file-20221206-25-zf8fph.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Woodpeckers knock on the hard surface of trees to forage for food, build nests and attract a mate.</span>
<span class="attribution"><a class="source" href="https://www.shutterstock.com/image-photo/great-spotted-woodpecker-dendrocopos-major-perched-2060062277">Vaclav Matous/Shutterstock</a></span>
</figcaption>
</figure>
<p>But the vibration of these power tools can damage the hands of construction workers. This can, in some cases, cause <a href="https://www.hse.gov.uk/mvr/topics/vibration.htm">vibration white finger</a>, a condition where sufferers experience permanent numbness and pain in their hands and arms. </p>
<p><a href="https://www.sciencedirect.com/science/article/abs/pii/S0960982222009964">Research</a> is now studying how woodpeckers protect their brains from the impact of repeated drilling. One <a href="https://www.sciencedirect.com/science/article/abs/pii/S175161611830688X?via%3Dihub">study</a> found that woodpeckers have several impact-absorbing adaptions that other birds do not have. </p>
<p>Their skull is adapted to be tough and hard, and their tongue wraps around the back of the skull and anchors between their eyes. This protects a woodpecker’s brain by softening the impact of the hammering and its vibrations.</p>
<p>Research such as this is guiding the design of <a href="https://www.mdpi.com/2076-3417/11/22/10584/htm">shock absorbers and vibration control devices</a> to protect the users of such equipment. The same concept has also inspired innovations such as <a href="https://www.sciencedirect.com/science/article/pii/S2214785319341987">layered shock-absorbing structures</a> for building design.</p>
<h2>3. Building design</h2>
<p>Scallops are molluscs with a fan-shaped, corrugated external shell. The zig-zag shape of these <a href="https://www.sciencedirect.com/topics/engineering/corrugated-sheet">corrugations</a> strengthens the shell’s structure, enabling it to withstand high pressure under water.</p>
<p>The same process is used to increase the strength of a cardboard box, with corrugated paper material being glued between the two external cardboard layers. The introduction of a corrugated surface significantly increases a material’s strength, in the same way that folding a piece of paper into a zig-zag shape allows it to take an additional load.</p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/498782/original/file-20221204-55844-i0v9vg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/498782/original/file-20221204-55844-i0v9vg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=350&fit=crop&dpr=1 600w, https://images.theconversation.com/files/498782/original/file-20221204-55844-i0v9vg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=350&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/498782/original/file-20221204-55844-i0v9vg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=350&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/498782/original/file-20221204-55844-i0v9vg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=440&fit=crop&dpr=1 754w, https://images.theconversation.com/files/498782/original/file-20221204-55844-i0v9vg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=440&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/498782/original/file-20221204-55844-i0v9vg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=440&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">A folded piece of paper in a zig-zag shape could withstand heavy load. Amin Al-Habaibeh, Author provided.</span>
</figcaption>
</figure>
<p>The dome-shaped structure of a scallop’s shell also enables it to withstand significant loads. This structure is self-supporting as it distributes the weight evenly over the entire dome shape, reducing the load on a single point. This improves the structure’s stability without the need for reinforcing steel beams and has inspired the <a href="https://www.sciencedirect.com/science/article/abs/pii/S0378778821003182">design of many buildings</a>, including St Paul’s Cathedral in London. </p>
<h2>4. Transport aerodynamics</h2>
<p>Sharks have two dorsal fins which provide several aerodynamic advantages. They <a href="https://dlnr.hawaii.gov/sharks/anatomy/fins-swimming/#:%7E:text=Dorsal%20fins%20stabilize%20the%20shark,and%20helping%20to%20conserve%20energy.">stabilise the shark</a> from rolling, while their aerofoil shape creates an area of low turbulence behind them and so increases the efficiency of the shark’s forward movement. </p>
<p>Shark fins have been replicated in motorised transportation. For example, racing cars use fins to both reduce turbulence when travelling at high speed and <a href="https://www.roadandtrack.com/motorsports/a28497386/shark-fin-race-car-wing-explained/">improve stability</a> when cornering. </p>
<p>Many road cars now have a small “shark fin” installed on their roof, which is used to integrate their <a href="https://natalexauto.com/blogs/natalex-auto-blog/what-is-the-shark-fin-on-the-roof-of-a-car">radio antenna</a>. This reduces drag compared to the traditional pole antenna.</p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/498796/original/file-20221204-55991-d268zz.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/498796/original/file-20221204-55991-d268zz.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=336&fit=crop&dpr=1 600w, https://images.theconversation.com/files/498796/original/file-20221204-55991-d268zz.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=336&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/498796/original/file-20221204-55991-d268zz.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=336&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/498796/original/file-20221204-55991-d268zz.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=423&fit=crop&dpr=1 754w, https://images.theconversation.com/files/498796/original/file-20221204-55991-d268zz.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=423&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/498796/original/file-20221204-55991-d268zz.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=423&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Shark-fin antenna in a modern car. Amin Al-Habaibeh. Author provided.</span>
</figcaption>
</figure>
<p>We have also taken inspiration from nature to increase the efficiency of aircraft flight. An owl’s wings act as a <a href="https://royalsocietypublishing.org/doi/10.1098/rspb.2020.1748">suspension system</a>; by changing the position, shape and angle of their wings, they are able to <a href="https://royalsocietypublishing.org/doi/10.1098/rspb.2020.1748">reduce the effect</a> of turbulence while in flight. And <a href="https://www.nationalgeographic.co.uk/science-and-technology/2021/03/owl-wings-may-hold-the-key-to-turbulence-proof-planes">research</a> into owl flight may open the door to turbulence-free air travel in the future.</p>
<h2>5. Velcro</h2>
<p>The hook-and-loop <a href="https://www.velcro.co.uk/blog/2018/06/how-do-velcro-brand-fasteners-work/#:%7E:text=Hook%20and%20loop%20fasteners%20have,and%20loop%20fastener%20will%20be.">fastening mechanism</a> of <a href="https://www.velcro.com/news-and-blog/2016/11/an-idea-that-stuck-how-george-de-mestral-invented-the-velcro-fastener/">velcro</a> was inspired by the ability of the burrs of burdock plants to fasten to human clothing.</p>
<p>Plants use burrs to <a href="https://homeguides.sfgate.com/plants-burrs-26416.html">attach seed pods</a> to passing animals and people, in order to disperse seeds over wider areas. Burrs possess small hooks that interlock with the small loops in soft material.</p>
<p>Velcro replicates this by using a strip lined with hooks together with a fabric strip. When pressed together, the hooks attach to the loops and fasten to one another. </p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/498799/original/file-20221204-25475-ps5jqg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/498799/original/file-20221204-25475-ps5jqg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=244&fit=crop&dpr=1 600w, https://images.theconversation.com/files/498799/original/file-20221204-25475-ps5jqg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=244&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/498799/original/file-20221204-25475-ps5jqg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=244&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/498799/original/file-20221204-25475-ps5jqg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=307&fit=crop&dpr=1 754w, https://images.theconversation.com/files/498799/original/file-20221204-25475-ps5jqg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=307&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/498799/original/file-20221204-25475-ps5jqg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=307&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Hook and Loop structure under the microscope. Amin Al-Habaibeh, Author provided.</span>
</figcaption>
</figure>
<p>Velcro is used in a wide range of products worldwide. According to <a href="https://www.nasa.gov/offices/ipp/home/myth_tang.html#:%7E:text=Velcro%20was%20used%20during%20the,associated%20with%20the%20Space%20Program.">Nasa</a>, it was used in space during the Apollo missions from 1961 to 1972 to fix equipment in place in zero gravity.</p><img src="https://counter.theconversation.com/content/195593/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Amin Al-Habaibeh does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>Humans often look to nature for the solutions to complex problems – here are five times where biological processes have inspired innovation.Amin Al-Habaibeh, Professor of Intelligent Engineering Systems, Nottingham Trent UniversityLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/1931882022-12-13T18:06:08Z2022-12-13T18:06:08ZDrawn to bustling markets, shops or malls this holiday season? Good vibes could explain it<figure><img src="https://images.theconversation.com/files/500454/original/file-20221212-112724-3bblu5.jpg?ixlib=rb-1.1.0&rect=0%2C0%2C4138%2C2744&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Customers ride escalators designed by Dutch architect Rem Koolhaas at the Saks Fifth Avenue Flagship in New York in 2019.</span> <span class="attribution"><span class="source"> (AP Photo/Mary Altaffer)</span></span></figcaption></figure><iframe style="width: 100%; height: 100px; border: none; position: relative; z-index: 1;" allowtransparency="" allow="clipboard-read; clipboard-write" src="https://narrations.ad-auris.com/widget/the-conversation-canada/drawn-to-bustling-markets--shops-or-malls-this-holiday-season-good-vibes-could-explain-it" width="100%" height="400"></iframe>
<p>The holiday season is here, and some may plan to go shopping along local Main Streets, popular city districts, malls or to enjoy time with friends and family in restaurants.</p>
<p>If you plan a trip to New York or Toronto for the coming holiday, you might have places like Fifth Avenue or Yorkville on your list as destinations. </p>
<p>But what makes some shops different than others? What makes Fifth Avenue or Yorkville different than other streets? </p>
<p>How we perceive our surrounding environment depends on <a href="https://doi.org/10.1068/a3383">how we approach and explore places, our perception of time spent doing so and many other components of how a space is designed.</a></p>
<h2>Do we really enjoy shopping?</h2>
<p>Aside from finding our preferred brands in certain shops or along these major shopping streets, many of us enjoy spending time strolling those streets or in our local malls. </p>
<p>After all, the concept of <a href="https://doi.org/10.1016/j.geoforum.2004.07.001">retail therapy</a> emerged in the 1980s and centred around getting good feelings and positive vibes from shopping in your preferred location. </p>
<p>Entire malls have been built as awe-inspiring or feel-good destinations, whether or not we agree that shopping itself is really something we enjoy. Is it buying merchandise that gives us a good feeling or is it more the atmosphere of the place we’re visiting?</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/how-to-make-holiday-gift-giving-eco-friendly-and-more-meaningful-128387">How to make holiday gift-giving eco-friendly — and more meaningful</a>
</strong>
</em>
</p>
<hr>
<h2>Components of a space</h2>
<p>In his book <em><a href="https://www.designersandbooks.com/book/questions-perception-phenomenology-architecture">Questions of Perception</a></em>, New York-based architect Steven Holl discusses how we perceive our surrounding environment by approaching and walking in a space (also known as circulation) and the components of that space. </p>
<p>According to Holl, we capture a frame of the space we are experiencing with every single step. But our experience depends on many different components, including lights, colours, textures, details, greenery and even the people around us. </p>
<p>All these components are merged into one single frame that forms our experience of a space. </p>
<figure class="align-center ">
<img alt="people walk on a wintry street festooned with christmas decorations anda lighting." src="https://images.theconversation.com/files/499874/original/file-20221208-17827-p3m533.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/499874/original/file-20221208-17827-p3m533.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=424&fit=crop&dpr=1 600w, https://images.theconversation.com/files/499874/original/file-20221208-17827-p3m533.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=424&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/499874/original/file-20221208-17827-p3m533.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=424&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/499874/original/file-20221208-17827-p3m533.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=533&fit=crop&dpr=1 754w, https://images.theconversation.com/files/499874/original/file-20221208-17827-p3m533.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=533&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/499874/original/file-20221208-17827-p3m533.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=533&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Visitors flood the streets in the Petit Champlain district of old historic Québec City in December 2020.</span>
<span class="attribution"><span class="source">THE CANADIAN PRESS/Jacques Boissinot</span></span>
</figcaption>
</figure>
<h2>Colours, light and sound</h2>
<p>Scientific evidence shows different colours have different impacts on our moods. For instance, <a href="https://doi.org/10.3389/fpsyg.2015.00368">the colour red can increase appetite</a> in a restaurant; that’s likely why so many seats in fast-food restaurants are in warm colours. </p>
<p>Similarly, green can make us feel peaceful and safe; that’s the reason behind using it in your local health-care clinic. </p>
<p>But colours alone won’t do the job — light is a major component in our built environment. Lighting design contributes significantly to how we perceive our environments. </p>
<p>Many restaurants, for example, use lighting to create an atmosphere at each table and might combine it with candles for an elevated experience. Libraries, on the other hand, provide sufficient lighting levels to desks so people can read with ease. </p>
<figure class="align-center ">
<img alt="A restaurant dining room with overhead and table-top lighting." src="https://images.theconversation.com/files/500731/original/file-20221213-16037-ldz4mf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/500731/original/file-20221213-16037-ldz4mf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/500731/original/file-20221213-16037-ldz4mf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/500731/original/file-20221213-16037-ldz4mf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/500731/original/file-20221213-16037-ldz4mf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/500731/original/file-20221213-16037-ldz4mf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/500731/original/file-20221213-16037-ldz4mf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Restaurant lighting can be critical to the dining experience.</span>
<span class="attribution"><span class="source">(Nick Karvounis/Unsplash)</span></span>
</figcaption>
</figure>
<h2>Ambient sounds of streets and malls</h2>
<p>Sound is another major contributor to our perception. The sound of rain can intensify a romantic walk by the river. Similarly, you might recognize some streets by the ambient sound. We all experience this ambient sound in our local malls. </p>
<p>We might also experience a particular space through a specific smell. We all have the common experience of smelling perfume that reminds us of someone. </p>
<p>All these space components are used in shopping districts or malls to give visitors a unique experience. It’s all intended to give visitors a positive vibe that will make them return and spend time and money. </p>
<figure class="align-center ">
<img alt="People seen on escalators and walking through a mall next to a large Christmas tree." src="https://images.theconversation.com/files/499871/original/file-20221208-24-ltinl.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/499871/original/file-20221208-24-ltinl.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=404&fit=crop&dpr=1 600w, https://images.theconversation.com/files/499871/original/file-20221208-24-ltinl.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=404&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/499871/original/file-20221208-24-ltinl.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=404&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/499871/original/file-20221208-24-ltinl.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=508&fit=crop&dpr=1 754w, https://images.theconversation.com/files/499871/original/file-20221208-24-ltinl.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=508&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/499871/original/file-20221208-24-ltinl.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=508&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">People wind their way through the Eaton Centre in Toronto.</span>
<span class="attribution"><span class="source">THE CANADIAN PRESS/Darren Calabrese </span></span>
</figcaption>
</figure>
<h2>Details and materials</h2>
<p>Details are an essential element in architecture to the extent that some brands are known simply for the unique architecture of their retail stores. A golden placard on a black background or golden linear light amid a dark ambient hue are details that can contribute to surrounding environments. </p>
<p>These details can expand into our malls and shopping districts to include greenery and ornamental water fountains, for example. Materials are another vital component of our built environment. </p>
<p>Sitting on a wooden chair feels different than sitting on a metal chair. In a similar fashion, we perceive our environments based on the materials that are used to create a space.</p>
<figure class="align-center ">
<img alt="Shoppers pass a large Christmas tree with a Nordstrom store behind it." src="https://images.theconversation.com/files/500438/original/file-20221212-110120-qh64s7.JPG?ixlib=rb-1.1.0&rect=0%2C458%2C5370%2C3132&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/500438/original/file-20221212-110120-qh64s7.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=407&fit=crop&dpr=1 600w, https://images.theconversation.com/files/500438/original/file-20221212-110120-qh64s7.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=407&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/500438/original/file-20221212-110120-qh64s7.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=407&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/500438/original/file-20221212-110120-qh64s7.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=512&fit=crop&dpr=1 754w, https://images.theconversation.com/files/500438/original/file-20221212-110120-qh64s7.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=512&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/500438/original/file-20221212-110120-qh64s7.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=512&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">People pass a large Christmas tree as they go shopping on Christmas Eve at an Ottawa mall.</span>
<span class="attribution"><span class="source">THE CANADIAN PRESS/Justin Tang</span></span>
</figcaption>
</figure>
<h2>Perception of time</h2>
<p>The past and future are two concepts in our minds. The present is the reality that we continuously experience as a series of single frames through our senses. For a better understanding, think of a film that we perceive through our seven senses.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/5-senses-in-fact-architects-say-there-are-7-ways-we-perceive-our-environments-193179">5 senses? In fact, architects say there are 7 ways we perceive our environments</a>
</strong>
</em>
</p>
<hr>
<p>Technically, duration is <a href="https://doi.org/10.1016/j.concog.2018.02.012">the recognition of changes in that series of single frames</a>. Duration is how we experience more than one frame.</p>
<p>For instance, if we walk down a long straight street, the task of walking might become arduous, resulting in thinking about why it’s taking so long to reach the destination. </p>
<p>In contrast, when we browse different retail stores, coffee shops and so on in a local market or mall, there are constantly changing frames. That’s why we find ourselves shopping for hours in a mall without feeling tired — and why walking for 20 minutes down a long straight street feels too long. </p>
<figure class="align-center ">
<img alt="Shoppers walk along an outdoor shopping mall." src="https://images.theconversation.com/files/499873/original/file-20221208-12769-rjmsjy.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/499873/original/file-20221208-12769-rjmsjy.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=416&fit=crop&dpr=1 600w, https://images.theconversation.com/files/499873/original/file-20221208-12769-rjmsjy.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=416&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/499873/original/file-20221208-12769-rjmsjy.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=416&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/499873/original/file-20221208-12769-rjmsjy.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=523&fit=crop&dpr=1 754w, https://images.theconversation.com/files/499873/original/file-20221208-12769-rjmsjy.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=523&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/499873/original/file-20221208-12769-rjmsjy.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=523&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">People make their way along a holiday-decorated Sparks Street in Ottawa in December 2022.</span>
<span class="attribution"><span class="source">THE CANADIAN PRESS/Sean Kilpatrick</span></span>
</figcaption>
</figure>
<p>When more senses are stimulated in perceiving our surroundings, our experience is elevated, resulting in different perceptions of time.</p>
<p>Now we know why sometimes walking on a uninteresting street for 30 minutes might seem arduous to us, but browsing and shopping for five hours in our local shopping mall or bustling street is fun. </p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/christmas-already-tis-the-season-to-think-about-time-52631">Christmas Already? ‘Tis The Season to Think About Time</a>
</strong>
</em>
</p>
<hr>
<p>Details, materials, light and all other components of our built environment impact our experiences of the spaces surrounding us. These, in turn, affect our perception of time and duration. </p>
<p>So, next time, whether you are planning to visit your local mall or a new city, you can identify what components most impact your perception in our built environment. This can help you decide whether you want to visit a specific location again next time.</p><img src="https://counter.theconversation.com/content/193188/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Farzam Sepanta does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>When we visit city streets, shops or malls during the holiday season, is it spending money that we like? Or is it about experiencing our surroundings?Farzam Sepanta, PhD Candidate, Building Engineering, Carleton UniversityLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/1956862022-12-01T17:06:12Z2022-12-01T17:06:12ZRaf Simons to close – a fashion marketing expert explains how the brand lost relevance<figure><img src="https://images.theconversation.com/files/498284/original/file-20221130-14-8pq6rq.jpg?ixlib=rb-1.1.0&rect=73%2C0%2C2804%2C1626&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Raf Simons walks the runway for his Calvin Klein Collection during New York Fashion Week 2018.</span> <span class="attribution"><a class="source" href="https://www.shutterstock.com/image-photo/new-york-ny-february-13-raf-1174237576">FashionStock.com</a></span></figcaption></figure><p>Surviving 27 years in the competitive and fast-changing world of fashion is an accomplishment many brands only dream of. Raf Simons weathered the 2007-08 <a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=&cad=rja&uact=8&ved=2ahUKEwi18e7hlNb7AhXLTcAKHTHKCA0QFnoECAwQAQ&url=https%3A%2F%2Fwww.vox.com%2Fthe-goods%2F2018%2F12%2F27%2F18156431%2Frecession-fashion-design-minimalism&usg=AOvVaw3TcG0yYsobLGaCJICexOV0">financial crisis</a>, <a href="https://theconversation.com/reviving-the-uks-textile-industry-could-help-replace-fast-fashion-with-homegrown-clothes-but-there-are-barriers-192141">Brexit</a> and the COVID pandemic with his eponymous label, but in November he announced that the SS23 line would be its last.</p>
<p>“Everything changes, both in our ideas and in the material world. Some changes happen gradually, but often the most important changes are not gradual but discontinuous or jerky.” So says <a href="https://books.google.co.uk/books?id=QGAftbU22SQC&pg=PA306&lpg=PA306&dq=%E2%80%9Ceverything+changes,+both+in+our+ideas+and+in+the+material+world%22&source=bl&ots=9W2B0YVphO&sig=ACfU3U06lKsT2rf1wbR33MqCb2ACt191fg&hl=en&sa=X&ved=2ahUKEwjhvIifp9P7AhVCi1wKHVmED80Q6AF6BAgJEAM#v=onepage&q=%E2%80%9Ceverything%20changes%2C%20both%20in%20our%20ideas%20and%20in%20the%20material%20world%22&f=false">Marxian theory</a> (as articulated by sociologists Peter Knapp and Alan Spector) and, clearly, so says Raf Simons, who has timed the closure of his self-titled label perfectly.</p>
<figure>
<iframe width="440" height="260" src="https://www.youtube.com/embed/pE7iaQkTgUM?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe>
<figcaption><span class="caption">Miuccia Prada and Raf Simons’s SS23 Prada womenswear collection.</span></figcaption>
</figure>
<p>Now the <a href="https://www.businessoffashion.com/articles/luxury/miuccia-raf-and-the-future-of-prada/">co-creative director of Prada</a>, Simons has shut down his own label at just the right time to preserve his brand’s undeniable mark on the industry while also enabling him to expand his name and vision at a bigger house.</p>
<p>The timing couldn’t be better. In November, brand consultancy <a href="https://www.pradagroup.com/en/news-media/news-section/22-11-03-prada-best-global-brands22.html">Interbrands</a> rated Prada as one of the fastest growing and “best global brands 2022”, and valued it at USD$6.548 billion.</p>
<p>As an expert in fashion marketing, I believe that Simons’s decision reflects the reality of the industry. Many designers start out as owners of their own brands in order to expand their portfolio, but as their careers progress and they become involved with major houses they can no longer cope with the strains of maintaining two brands.</p>
<p>Catherine Hudson, associate lecturer in fashion design at the University of East London, expressed another point of view to me: “What Simons was once known for – bomber jackets, pop culture inspired themes, patchwork, loose fits – other designers are now grabbing onto. His brand has just not remained relevant enough.”</p>
<h2>What was the Raf Simons line known for?</h2>
<p>Journalist <a href="https://shopthrilling.com/blogs/style-archive/10-once-iconic-fashion-brands-that-no-longer-exist-1">Nicole Johnson</a> noted in recent musings on fashion legacy: “The most influential fashion brands and designers stand the test of time, having occupied distinctive places in fashion history. These icons enjoyed the unique experience of influencing generations.”</p>
<p>From the late Nineties, Raf Simons’ ability to <a href="https://www.tandfonline.com/doi/pdf/10.2752/175174115X14113933306743?needAccess=true">reframe the relationship</a> between pop culture, art and clothing set the tone in menswear for luxury, casual, deconstructed, fashionable clothing.</p>
<p>Simons challenged the system with <a href="https://www.academia.edu/9725939/Raf_Simons_and_Interdisciplinary_Fashion_from_Post_Punk_to_Neo_Modern">nonconforming designs</a> that <a href="https://www.anothermag.com/fashion-beauty/8283/the-nightmares-and-dreams-of-raf-simons">spoke to the industry</a> and his fans alike. His fall 2016 menswear collection, Nightmares and Dreams, for example, was a fragmented line of his 20 year archive, suggesting a reclamation of his time following his departure from Dior. Torn, oversized sweaters, down jackets and misaligned coats made the statement that season.</p>
<figure>
<iframe width="440" height="260" src="https://www.youtube.com/embed/adL42t5GTKA?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe>
<figcaption><span class="caption">Raf Simons’s fall winter 2019/2020 collection.</span></figcaption>
</figure>
<p>Following his <a href="https://www.vogue.co.uk/article/raf-simons-leaves-calvin-klein">dramatic exit from Calvin Klein</a>, Simons’s fall winter 2019/2020 collection was fraught with messaging that cult followers <a href="https://www.vogue.com/fashion-shows/fall-2019-menswear/raf-simons">revelled in decoding</a>. As journalist Steve Salter observed in a <a href="https://i-d.vice.com/en/article/8xzbvp/raf-simons-spring-summer-20-paris-review">retrospective for Vice</a>, “Raf’s vision was darker, dirtier and more underground than anything we had seen before … the counterculture genius let his statement filled collection do the talking.”</p>
<h2>Why was it time for Raf Simons to close?</h2>
<p>For nearly three decades, Simons excited a youthful fanbase with his merging of luxury fashion, music and hype. That is the mark his brand will leave on fashion history.</p>
<p>Today’s youth culture, however, wants something different. <a href="https://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=434540&site=ehost-live">Fashion fan bases of today</a> marvel in the exclusivity of brands like Supreme, the subcultural power houses of Stussy and Off-White, marketing genius of Balmain and Balenciaga and innovation of <a href="https://blog.roblox.com/2022/11/insights-from-our-2022-metaverse-fashion-trends-report/">metaverse fashion brands</a> such as RTFKT. Established brands like Hugo Boss, meanwhile, are reaching new youth audiences by collaborating with Tik Tok celebrities such as <a href="https://group.hugoboss.com/en/newsroom/stories/boss-x-khaby">Khaby Lame</a>.</p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/498290/original/file-20221130-16-x2dygj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Fans queue outside an Off-White store in Melbourne, Australia." src="https://images.theconversation.com/files/498290/original/file-20221130-16-x2dygj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/498290/original/file-20221130-16-x2dygj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/498290/original/file-20221130-16-x2dygj.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/498290/original/file-20221130-16-x2dygj.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/498290/original/file-20221130-16-x2dygj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/498290/original/file-20221130-16-x2dygj.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/498290/original/file-20221130-16-x2dygj.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Fans queue outside an Off-White store in Melbourne, Australia.</span>
<span class="attribution"><a class="source" href="https://www.shutterstock.com/image-photo/melbourne-victoriaaustralia-august-17-2019-photos-1480856138">Robertus Benny Murdhani</a></span>
</figcaption>
</figure>
<p>While brands like Tommy Hilfiger and Lacoste restructured to grapple with the fashion industry’s captivation with streetwear, Raf Simons lost sight of the current needs of youth culture. Not adapting to the changing demands of his fanbase kept his brand in the past, and the audience his collections once spoke to slowly dwindled.</p>
<p>Nonetheless, Raf Simons has left a legacy. Under his tenure, Prada looks set to continue his reputation as a pioneer, translating the art of countercultures into contemporary fashion. Far from an end to Raf Simons’s visions, closing his own line could be just the beginning.</p><img src="https://counter.theconversation.com/content/195686/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Sharon Hughes does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>As an expert in fashion marketing, I see nothing to mourn in Raf Simons’s decision to close his eponymous label – here’s why.Sharon Hughes, Senior Lecturer, School of Arts and Creative Industries, University of East LondonLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/1868852022-08-22T12:26:00Z2022-08-22T12:26:00ZCell towers have come to symbolize our deep collective anxieties<figure><img src="https://images.theconversation.com/files/479964/original/file-20220818-22-29q3j2.jpg?ixlib=rb-1.1.0&rect=8%2C8%2C5742%2C3819&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Most of us would rather not think about the fact that we're immersed in an electromagnetic soup of radio waves.</span> <span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/photo/cellphone-base-station-towers-over-factory-roofs-royalty-free-image/1266611529?adppopup=true">RapidEye/E+ via Getty Images</a></span></figcaption></figure><p>The new movie “<a href="https://www.imdb.com/title/tt15325794/">Fall</a>” is a survival-thriller about two young women, Becky and Hunter, who are avid rock climbers. To mark the one-year anniversary of Becky’s husband’s death in a climbing accident, they decide to climb an abandoned 2,000-foot TV tower.</p>
<p>But a ladder breaks, and they find themselves stranded atop the rusty steel latticework. Ironically, at the top of the communication tower, the climbers are too high in the air to get a phone signal to call for rescue.</p>
<p>Other recent movies have also featured terrifying communication towers. </p>
<p>Take the 2016 film “<a href="https://www.imdb.com/title/tt0775440/">Cell</a>,” which is based on a Stephen King novel. In it, a cell tower signal turns normal people into zombies, a literal version of <a href="https://en.wikipedia.org/wiki/Smartphone_zombie">the cliché</a> about the effect mobile phones have on users. The 2018 Indian sci-fi blockbuster “<a href="https://www.imdb.com/title/tt5080556/?ref_=fn_al_tt_1">2.0</a>” features a gigantic Kaiju monster – akin to Godzilla or Mothra – made of cellphones. It rises to avenge the deaths of millions of birds supposedly killed by cell tower radiation. (Millions of <a href="https://www.audubon.org/news/no-5g-radio-waves-do-not-kill-birds">birds do die</a> every year by crashing into towers, but probably because they become disoriented by their lights, not from the radiation they emit.)</p>
<p>Why are communication towers so scary? Why, in “Fall,” is the steel tower somehow more disturbing than the rocky cliff face where Becky’s husband died?</p>
<p>I think it’s about more than fear of heights. <a href="https://scholar.google.com/citations?user=Zj3a1f4AAAAJ&hl=en">As a scholar who studies attitudes toward technology</a> – and who wrote <a href="https://www.routledge.com/Against-Technology-From-the-Luddites-to-Neo-Luddism/Jones/p/book/9780415978682">a book on the Luddites</a> and <a href="https://www.bloomsbury.com/us/cell-tower-9781501348815/">another one on cell towers</a> – I see cell towers, like the radio and TV towers that preceded them, as the focus of deep collective anxieties.</p>
<h2>Channeling invisible forces</h2>
<p>As anthropologist <a href="https://www.upress.umn.edu/book-division/books/code-and-clay-data-and-dirt">Shannon Mattern has argued</a>, towers and antennas are visible manifestations of vast invisible networks – mostly wireless or underground – that can be hard for people to wrap their heads around, even as they grow increasingly dependent on them. </p>
<p>They’re a reminder of something that most of us would rather forget: that we’re immersed in an electromagnetic soup of radio waves, walking around every day in what design scholar Anthony Dunne <a href="https://mitpress.mit.edu/books/hertzian-tales">has called</a> “hertzian space.” Those same invisible waves also signal the possibility of ubiquitous surveillance and manipulation.</p>
<figure class="align-center ">
<img alt="A Christian cross perched atop communication technology." src="https://images.theconversation.com/files/479969/original/file-20220818-15665-4u0d8b.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/479969/original/file-20220818-15665-4u0d8b.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=358&fit=crop&dpr=1 600w, https://images.theconversation.com/files/479969/original/file-20220818-15665-4u0d8b.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=358&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/479969/original/file-20220818-15665-4u0d8b.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=358&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/479969/original/file-20220818-15665-4u0d8b.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=449&fit=crop&dpr=1 754w, https://images.theconversation.com/files/479969/original/file-20220818-15665-4u0d8b.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=449&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/479969/original/file-20220818-15665-4u0d8b.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=449&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">A cross tower doubles as a telecommunications node at Green Hills Baptist Church in La Habra, Calif.</span>
<span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/the-cross-tower-at-green-hills-baptist-church-now-holds-news-photo/564008531?adppopup=true">Gina Ferazzi/Los Angeles Times via Getty Images</a></span>
</figcaption>
</figure>
<p>So a latticework steel tower or a sleek <a href="https://pedroc.co.uk/content/vodafone-o2-monopoles">monopole mast</a> with an array of rectangular antenna panels clustered at its top can elicit powerful responses. </p>
<p>On the one hand, there’s denial – you might half-consciously “unsee” them and pretend they’re not there. </p>
<p>On the other hand, they can become a source of paranoia, which sometimes metastasizes into conspiracy theories. </p>
<h2>Hidden in plain sight</h2>
<p>Cell towers are often designed to hide in plain sight. Some are even <a href="https://www.vox.com/2015/4/19/8445213/cell-phone-towers-trees">disguised as pine trees or palm trees</a> – rather poorly, in most cases. But stealth towers like these aren’t actually meant to pass for the natural objects they imitate. </p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/479965/original/file-20220818-349-dj7ai0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Cell phone tower 'disguised' with palm fronds." src="https://images.theconversation.com/files/479965/original/file-20220818-349-dj7ai0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/479965/original/file-20220818-349-dj7ai0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=916&fit=crop&dpr=1 600w, https://images.theconversation.com/files/479965/original/file-20220818-349-dj7ai0.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=916&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/479965/original/file-20220818-349-dj7ai0.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=916&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/479965/original/file-20220818-349-dj7ai0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1151&fit=crop&dpr=1 754w, https://images.theconversation.com/files/479965/original/file-20220818-349-dj7ai0.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1151&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/479965/original/file-20220818-349-dj7ai0.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1151&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Cell tower ‘camouflage’ is meant to elicit benign disregard.</span>
<span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/cell-phone-tower-on-the-north-shore-of-the-salton-sea-is-news-photo/1397549380?adppopup=true">George Rose/Getty Images</a></span>
</figcaption>
</figure>
<p>Like all camouflage, they’re just supposed to distract our attention long enough for us to overlook them. The brown painted “bark” and green plastic “leaves,” or the rows of rectangular antenna panels painted to blend into building façades, are simply prompts to our unseeing – cues to look away. Nothing to see here, they say. </p>
<p>Meanwhile, the towers <a href="https://www.statista.com/statistics/185854/monthly-number-of-cell-sites-in-the-united-states-since-june-1986/">quietly multiply</a>.</p>
<p>In recent years, 5G antennas have started showing up everywhere, often as unlabeled boxes or cylinders on standalone poles or streetlights.</p>
<p>Known as small-cell networks, these faster and more powerful 5G systems require many more antennas spaced closer together. This greater density has provoked <a href="https://www.theatlantic.com/technology/archive/2020/05/great-5g-conspiracy/611317/">increased fears</a> about potential risks to health and security, along with more paranoid reactions linking cellular radiation to cancer – a link <a href="https://www.nytimes.com/2019/07/16/science/5g-cellphones-wireless-cancer.html">not supported by scientific research</a>. Some people even <a href="https://slate.com/technology/2020/04/coronavirus-covid19-5g-conspiracy-theory.html">wrongly blamed 5G for the COVID-19 pandemic</a>.</p>
<p>As a result of such conspiracy theories, 2020 saw a <a href="https://www.politico.com/news/magazine/2020/05/18/deep-conspiracy-roots-europe-wave-cell-tower-fires-264997">rash of cell tower arson</a> reminiscent of the Luddites – textile workers in 19th-century England who <a href="https://www.smithsonianmag.com/history/what-the-luddites-really-fought-against-264412/">sabotaged new mechanical looms that were putting them out of work</a>. Two hundred years later, the name Luddite has become synonymous with any reaction against new technology. </p>
<figure class="align-center ">
<img alt="Caution tape wrapped around burned out metal boxes." src="https://images.theconversation.com/files/479967/original/file-20220818-459-zz89e.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/479967/original/file-20220818-459-zz89e.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/479967/original/file-20220818-459-zz89e.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/479967/original/file-20220818-459-zz89e.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/479967/original/file-20220818-459-zz89e.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/479967/original/file-20220818-459-zz89e.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/479967/original/file-20220818-459-zz89e.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">The base of a 5G phone mast damaged by arsonists in May 2020 in Liverpool, England.</span>
<span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/fire-and-explosion-damage-can-be-seen-on-an-ee-network-5g-news-photo/1227576029?adppopup=true">Christopher Furlong/Getty Images</a></span>
</figcaption>
</figure>
<p>Some of the extreme reactions against cell towers may be the result of displaced anxiety about the very real risks of everyday technology. </p>
<p>Most of us sense – though we often prefer to forget – that each steel cell tower or sleek 5G box is just the tip of the iceberg. It’s a visible sign of mostly invisible global communication networks, tied to centers of commercial and political power, that are gradually eroding our privacy and autonomy. </p>
<p>No wonder they’re so terrifying.</p><img src="https://counter.theconversation.com/content/186885/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Steven Jones does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>Hiding in plain sight, they’re subtle reminders that we’re being watched, tracked, studied.Steven Jones, Professor of English and Digital Humanities (Ret.), University of South FloridaLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/1880142022-08-15T14:56:15Z2022-08-15T14:56:15ZAfrican digital innovators are turning plastic waste into value – but there are gaps<figure><img src="https://images.theconversation.com/files/478522/original/file-20220810-15-j2s91z.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Plastic waste in Kampala, Uganda. </span> <span class="attribution"><a class="source" href="https://www.gettyimages.com/detail/news-photo/plastic-wastes-are-seen-in-kampala-uganda-on-march-10-2022-news-photo/1239258007?adppopup=true">Omer Faruk Ozbil/Anadolu Agency via Getty Images</a></span></figcaption></figure><p>Plastic pollution is a growing global menace. Between 2010 and 2020, the global production of plastics <a href="https://www.statista.com/statistics/282732/global-production-of-plastics-since-1950/">increased</a> from 270 million tonnes to 367 million tonnes. Every year, <a href="https://www.science.org/doi/10.1126/science.1260352">more than 12 million tonnes of plastics</a> end up in the world’s oceans, with severe consequences for marine life. When macro plastics degrade into micro-plastics, they easily contaminate the food chain and pose significant threats to human health via <a href="https://www.sciencedirect.com/science/article/abs/pii/S0378512218303505">inhalation and ingestion</a>. </p>
<p>By 2030, plastic waste is <a href="https://ellenmacarthurfoundation.org/circular-economy-in-africa-plastics">expected to double</a> to 165 million tonnes in African countries. Most of this will be in Egypt, Nigeria, South Africa, Algeria, Morocco and Tunisia.</p>
<p>A significant proportion of <a href="https://edition.cnn.com/2019/07/29/opinions/by-exporting-trash-rich-countries-put-their-waste-out-of-sight-and-out-of-mind-varkkey/index.html">the plastic that ends up on African shores</a> is produced in developed, industrialised countries. By 2010, it was estimated that <a href="https://www.sciencedirect.com/science/article/pii/S0308597X17305286">close to 4.4 million tonnes</a> of mismanaged plastic waste was in oceans and seas off the coast of Africa every year. A <a href="https://www.wwfkenya.org/?233390/Plastic-Pollution-in-Africa-Identifying-Policy-Gaps-and-Opportunities">2022 estimate</a> has put this number at 17 million tonnes.</p>
<p>Growing numbers of NGOs and innovators across the continent are responding to the challenge. They are <a href="https://www.digitaltimes.africa/afri-plastics-challenge-reveals-wealth-of-african-innovation/#">developing digital solutions</a> to reduce plastic waste generation, and promoting reuse and recyling of plastic products. Increasingly, African tech hubs are incorporating environmental sustainability in their <a href="https://www.tandfonline.com/doi/full/10.1080/09537325.2021.1947492">business models</a>. </p>
<p>In <a href="https://www.tandfonline.com/doi/full/10.1080/23322373.2021.1999750">our recent paper</a>, we highlight ongoing efforts and innovations in what is called the plastic value chain. This comprises four phases, from the design of plastic products to manufacture, use, and end of life.</p>
<p>We found a number of initiatives that are transforming the plastic value chain into a smart, innovative and sustainable network. Most aim to improve plastic identification, collection, transport, sorting, processing and reuse. Some focus on the earlier phases: design and production of plastic products. </p>
<p>A whole value chain approach to the circular plastic economy is very important. While the majority of plastic waste management activities tend to <a href="https://www.sciencedirect.com/science/article/pii/S0301479721020375">focus on the use and end-of-life phases</a>, more attention needs to be given to <a href="https://oceanfdn.org/initiatives/redesigning-plastics-initiative/">design</a> and manufacture. This is where the problem of plastic waste begins. </p>
<p>Worldwide, attention is turning to designing simpler and standardised products that are easier to recyle and <a href="https://www.unep.org/news-and-stories/story/how-reduce-impacts-single-use-plastic-products">reuse</a>.</p>
<h2>Innovators cracking the code</h2>
<p>A Nigerian software company, <a href="https://www.wecyclers.com/">Wecyclers</a>, operates a rewards-for-recycling platform. It offers incentives to individuals and households in low-income communities to make money and capture value from recyclable plastic waste. </p>
<p>Via the platform, waste collectors are connected to a fleet of locally assembled waste cargo vehicles. They use these to collect waste from subscribing households. These households are also rewarded according to the quantity of waste collected from them. </p>
<p>The collected waste is deposited in designated locations in the Lagos metropolis, to be collected in bulk by recyclers. This provides materials to manufacturers who turn it into new items like tissue paper, stuffing for bedding, plastic furniture, aluminium sheets and nylon bags.</p>
<p>The impact is significant on many levels. Firstly, by linking waste generating households with waste collectors in their neighbourhoods, the Wecycler model simplifies the logistics of collection and sorting at source, at practically no cost to households. Secondly, it enables households not only to mitigate the public health risks associated with plastic waste accumulation and mismanagement, but also to generate income. Finally, it elongates the end-of-life phase in the plastic value chain through recycling and potential reuse. </p>
<p>In Uganda, <a href="https://yowasteapp.com/">Yo Waste</a>, a technology start-up, has developed a mobile, cloud-based solution that connects waste generators to the nearest waste haulers in their community. Yo Waste improves the efficiency of scheduling and waste collection. It also helps waste collection companies measure the productivity of their trucks, and gives recyclers easier access to the plastic waste. </p>
<p>In Zambia, <a href="https://www.gistnetwork.org/recyclebot">Recyclebot</a> is connecting waste sellers to waste buyers via a crowdsourcing platform that aggregates waste by type and location. In effect, the plastic waste producers dispose of their waste for free, and waste buyers overcome the cost of separation, transfer and storage. </p>
<p>While these are promising innovations, the main challenge is scaling. <a href="http://parmindervir.com/5-challenges-that-african-start-ups-face-in-business/">This is slow on the continent</a>. Start-ups in the recycling industry face additional challenges like inadequate funding and an under-developed plastic market that offers limited opportunities for growth and income generation. </p>
<p>A significant proportion of the funds accessed by start-ups is provided as grants from international and local organisations. Pure business investments are rare, and policy interventions are way behind the curve. </p>
<h2>What can be done</h2>
<p>To accelerate the transition to a circular plastic economy, stakeholders from across a spectrum of organisations must work together. They include NGOs, cooperatives, think tanks and community groups. The current approach to tackle plastic waste on the continent remains scattered and inadequately co-ordinated. While efforts are being made to develop new ecosystems in many countries, key stakeholders are often missing. </p>
<p>In particular, African governments have a key role to play. They need to commit more to strategic investment in infrastructure, incentives and support for start-ups. African countries also need policy interventions to grow the market for circular plastic products at national and continent-wide levels. </p>
<p>In <a href="https://www.researchgate.net/publication/362609257_Technology_acceptance_and_readiness_of_stakeholders_for_transitioning_to_a_circular_plastic_economy_in_Africa">another study</a>, we argued that innovators must tailor their strategies to create innovations that are functional and easy to use. This will make it easier for ordinary consumers and the general public to accept them. In turn it will help change habits of consumption and expand the market for circular plastic products.</p>
<p>Digital innovators, as early adopters, are critical for driving changes in the way the plastics economy works across the continent. Their innovations are also leading to knowledge exchange and cross-sectoral collaborations. </p>
<p>However, they also face significant institutional challenges and infrastructural limitations that are slowing down the pace of progress. By working together and pooling resources, stakeholders can achieve an impact that is much greater than the sum of their individual initiatives and contributions towards a circular plastic economy in Africa.</p><img src="https://counter.theconversation.com/content/188014/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Seun Kolade receives funding from UK Research and Innovation (UKRI)/EPSRC as a co-investigator of the project titled Digital Innovations for Transitioning to a Circular Plastic Economy in Africa (DITCh Plastic). Project Reference: EP/T029846/1</span></em></p><p class="fine-print"><em><span>Muyiwa Oyinlola receives funding from UK Research and Innovation (UKRI)/EPSRC as a Principal investigator of the project titled Digital Innovations for Transitioning to a Circular Plastic Economy in Africa (DITCh Plastic). Project Reference: EP/T029846/1. </span></em></p>It’s important to look at the whole value chain in the plastics economy, starting with design of products that can be reused and recycled.Seun Kolade, Associate professor, De Montfort UniversityMuyiwa Oyinlola, Professor, De Montfort UniversityLicensed as Creative Commons – attribution, no derivatives.