There are many approaches to developing a sustainable practice. Mine I would loosely describe as ‘frugality’, a practice of using precious resources – even if they’re junk – with respect and caution. This has led over time to the necessity of materials-informed design: allowing the available materials to influence the design, and to be inseparable from its conception.
From working with many designers and makers, some with a sustainable practice and many without, I’ve learned that it’s not enough to substitute salvaged or recycled materials into a traditional design process (from writer, through director, to designer, to the workshop floor and out into rehearsals.) You need to shake up that linear process, and that starts with the vexed term ‘creatives’. Usually this means only the writer, director and designer, but the makers and performers are also contributing their creativity. Allow feedback loops from the workshop or rehearsal floor as the show is brought to life.
Consider materials and processes at the concept phase, and set the rules of the game together. Perhaps you will focus on making a show without a set, to reduce freight; or pose the challenge to buy nothing new; or maybe biodegradability will be your primary concern. Each of these would result in different material choices, and might influence the script and directives.
I’ve begun to sketch out a guide for designers and makers to help them work together in this way. I share it with you now, with the disclaimer that these ideas are iterative and will continue to be thrashed out in the real world. I welcome feedback.
SUSTAINABLE PRACTICE: FOR DESIGNERS
The practice of working with salvaged, repurposed or recycled materials requires a non-traditional and non-linear approach. You can best help the construction team by allowing materials to inform design. In your plans, provide the essential information (eg dimensions that affect performance or freight), colour palette, textures and a sense of the world you’re trying to create. Allow room for these to be realised in a number of ways, depending on the materials sourced. Design to minimise freight and material emissions by making the work as light, compact, and simple as possible.
This way of working requires:
– LEAD TIME: The sooner your concept drawings are tabled, the sooner the discussions can begin. Salvaged or unusual materials may take longer to source. Factor research and development into your timeline.
– GOOD COMMUNICATIONS: Keep the conversation rolling so that construction doesn’t stall. Make prompt decisions, and listen to the voices involved. Transparency of process is the most efficient way to do this. Set up a shared Miro or Pinterest board or have regular meetings with makers.
– FLEXIBILITY: Be prepared for your ideas to be modified. Keep hold of what is essential and make those qualities clear to the team.
– INFORMING YOURSELF: Learn what you can about sustainable alternatives and waste streams. Anything going reliably to waste in large volumes has potential, and if you have materials in mind you can design for them. Aside from intercepting landfill, things to consider when choosing materials include source, processing intensity, toxicity, biodegradability, weight, and whether it is or can be reused, repaired, repurposed or recycled.
This can be bewildering, but consider it as a learning journey: every piece of knowledge you gain will make your next decision easier. Avoid the greenwash and make evidence based choices wherever you can.
SUSTAINABLE PRACTICE: FOR MAKERS
To construct a design from salvaged, repurposed or recycled materials you should first understand the essential elements of the design, and what is negotiable. Generally, you will spend less on stuff but more on the labour required for disassembly or processing. Strategic hoarding of generally useful materials will decrease your search time and may even speed up the process compared to conventional builds.
This way of working requires:
– INDUSTRIAL ECOLOGY: Know where the sources are in your area, and identify materials with useful properties that are available reliably and in large volumes.
– DIVERSE SKILLS: Develop a strong vocabulary of processes and techniques that can be applied to different materials.
– GOOD COMMUNICATIONS: keep the information flowing, including progress shots and samples, and communicate promptly with the team
– RESEARCH AND DEVELOPMENT: Understand your materials and their strengths and limitations. Test and develop processes early, and inform the designer.
– ON TIME AND ON BUDGET: Keep track of time and meet your deadlines. Understand the budget and don’t overspend. These in turn affect decisions made along the way, such as when to simplify designs or which processes will be too time consuming and should be adapted.
In sustainable practice, everything becomes connected. It is far from simple and there may be no right answers, but there are definitely better choices.