GRP225 | Experimental Design

Assessment 2 | Design in the Anthropocene | Pecha Kucha

SARAH
MICALLEF

SARAH MICALLEF
Digital Artisan
www.sarahmicallef.design
0401 311 108 | hello@sarahmicallef.design
Photos by Sarah Micallef
Photos by Sarah Micallef
Digital work by Abeer Seikaly
Photos sourced online
 Living Principles Scorecard Test Results

25 Environment

People

Economy
20
Culture

15

10

0
Nevhouse U-Dome Rohingya Tin Shelters
Photos sourced online
Photo by Sarah Micallef
Photo by Sarah Micallef
Photo by Sarah Micallef
Photo by Sarah Micallef
Photos sourced online
Photos by Sarah Micallef
Photos by Sarah Micallef
Photos by Sarah Micallef
Photo by Sarah Micallef
Photo by Sarah Micallef
Photo by Sarah Micallef
 SARAH
MICALLEF

SARAH MICALLEF
Digital Artisan
www.sarahmicallef.design
0401 311 108 | hello@sarahmicallef.design
Pecha Kucha Script
Slide 1 - Hello, my name is Sarah Micallef and welcome to this GRP225 Design in the Anthropocene Presentation. In this
presentation I will guide you through the research and development leading to my final design, which reflects my ideas
regarding my own role as a designer within the anthropocene, as well as investigating sustainability within this era.

Slide 2 - The first step of my process within this project was to evaluate my own lifestyle and actions, considering both
the sustainable and unsustainable practices in which I engage. The sustainable aspects of my lifestyle include growing
some of my own food, making my own natural cleaning products and using a compost heap for food scraps.

Slide 3 – The unsustainable aspects of my lifestyle mainly involve generating waste in the form of packaging,
particularly milk bottles, of which I use an average of 6 per week. Despite a large portion of my waste being recyclable,
a more responsible approach could be taken rather than placing this waste in the recycling bin and considering it to no
longer be my problem.

Slide 4 – Upon looking through the case studies presented within the GRP225 class material, I was instantly intrigued
and engaged by Abeer Seikaly’s design for weaved fabric refugee shelters. This exceptional example of design guided
my decision to further investigate housing solutions as my chosen aspect of sustainability within this project.

Slide 5 – In conducting my own research regarding sustainable housing solutions, my chosen case studies were that
of the Nevhouse, the U-Dome and the Rohingya Tin Shelters. I commenced this stage of my research with little real
idea of exactly how these solutions would compare to each other, simply aiming for as diverse a set of case studies as
possible.

Slide 6 – In order to assess my 3 selected case studies, I utilised the AIGA’s Living Principles Scorecard Tests. The
collated data from these scorecards revealed the huge divides between these solutions, also highlighting them
respectively as cases of exceptional, great and poor practice, all offering different lessons and insights.

Slide 7 – Additional information was gained via the examination of an additional 6 case studies, which included
examples of transitional, emergency, temporary and portable housing solutions from a variety of providers. The
importance of dignity and longevity was made clear to me, as was the fact that these products provide hope as much
as they do shelter, and the necessity of this.
Slide 8 – Upon taking a study break, I was watching the Rainbow Lorikeets playing in the trees of the nature reserve,
to which my yard adjoins. The Lorikeets were less in number than usual and I couldn’t spot any smaller birds in the
trees - a quick Google search revealed that when space is limited, Lorikeets will use violence to remove smaller bird
species - a fact that stirred my curiosity.

Slide 9 – Driving home the next afternoon provided me with an opportunity to observe the mass land clearing works
which are currently taking place within my suburb to expand a housing estate. Could this be related to the lack of
small birds in the reserve? Reading the Blacktown Council report on this work revealed that over 700 acres have been
cleared to date, with approx. 80 bird species spotted on the land.

Slide 10 – I pondered the amount of land cleared as I continued to photograph evidence of the waste I was
generating, asking myself how this waste could not only be re-purposed, but how this re-purposing could use design
to contribute to a more sustainable future. By adjusting my thinking to see birds as refugees, the answer became
clear. Unlike my case studies, these refugees aren’t of war or famine, but of pure human greed.

Slide 11 – Guided by the idea that principles of transitional and emergency housing which I had discovered within my
case studies could also be applied to this ‘refugee’ situation, I commenced research to find out exactly what these
refugees required in a home, to better know the needs of my users. Upon researching the different bird species within
my area, I identified a number of shared and individual housing requirements.

Slide 12 – The next phase of my research was to find examples of the up-cycling of products to build housing for
birds. The majority of examples that I located online amazed me with their complete lack of consideration for the
dignity of birds, viewing them as ‘cute toys’ rather than living beings. Additionally to this, the negative impacts on
birds behavior that could be caused by these designs was rarely considered.

Slide 13 – Using many of the examples sourced online as examples of what not to do within my design, I proceeded
with preliminary sketches of my product. Considerations such as ventilation and perching were included, as was the
key idea that was gained from my case studies - that dignity must be a driving factor and that these types of housing
should be designed for longevity to build communities.
Slide 14 – The prototype phase of my design process involved experimentation with a variety of milk bottles of
different weights and textures. A range of tools were experimented with to investigate outcomes, and features were
tested. Key realisations within this phase were both the fact that the bottles allowed too much light in, and that the
aesthetics needed to be greatly developed.

Slide 15 – In order to address the first housing requirement of reducing light (to mimic the interior of a tree) tests
were conducted with non toxic, UV blocking paint. These tests revealed the ideal number of coats to achieve the
desired finish was 3, with minimal light penetrating these layers when tested in full sunlight, and a cool interior being
maintained.

Slide 16 – Although the pieces were now more natural in appearance, it was clear that more could be done to improve
these designs in order to minimise any changes to birds behaviours that the pieces may stand to cause. Upon visiting
the reserve where the pieces were to be placed, I foraged a large amount of sticks and bark, all shed from nearby
trees, in order to apply them to my designs.

Slide 17 – Bark was applied to these pieces in a patchwork design, precisely slanted to promote moisture roll-off,
resulting in my final designs. These pieces reflect my desire to utilise design in order to solve current pressing issues
regarding sustainability, using guidance gained from my 3 diverse case studies and my own everyday practices to aid
in their development and formation.

Slide 18 – Now securely attached to trees within the reserve, these 2 pieces will act as the start for many more to be
produced in the future. With each piece requiring an investment of 8 hours to produce and having the potential to
last for long periods of time, these designs allow me to make effective use of a sizable portion of the waste I use each
week, taking more responsibility for my own environmental footprint.

Slide 19 – To me, design in the anthropocene is about designing with the future impacts of my current actions in mind.
I believe that in order to be successful and beneficial within the anthropocene, design will need to reuse and recycle
to achieve more with less, and will more than ever, need to design for needs rather than wants. The anthropocene is a
warning to view the planet as a partner, rather than simply as a resource.

Slide 20 – Thank you for watching this presentation, I hope you have enjoyed this journey through my creative
process. Further information on this project and many more can be found at my website of www.sarahmicallef.design.