SDGzine#02

#02

DECEMBER 2021 20€ - 25CHF

1

event SDGzine research & outreach project

Fabric : Repair or Waste?

Workshop Sat. February 12 SDG Solution Space, Geneva session 1 10h - 12h session 2 14h - 16h • talks • idea wall • hands on workshops Entrance: free Register via www.addictlab..com

pictured : pattern research by Jean-Marie Durney ©FABRICADEMY 2019

event SDGzine research & outreach project Cloud to Classroom Changing Planet Workshop Saturday December 11 2021 SDG Solution Space, Geneva 9.00h - 12.00h / 13.00h - 16.00h A Bird’s Eye View of a Changing Planet Learn how to design interactive applications to display and analyze changes on Earth’s surface.

Entrance: free / donations welcome Register via www.eventbrite.com

• TALKS & FACILITATION • Liza Goldberg, Researcher at NASA • Ellen Walker, Founder RightsTech Women • Jan Van Mol, Founder Addictlab.com & publisher SDGzine • • ACTIVITIES • - Interactive exploration with Google Earth Engine • - Satellite imagery programming activities • - Discovery of climate data science • - Collective intelligence SDG Idea Wall • - Google Earth VR visits

3

event SDGzine research & outreach project

4 ZURICH

0

3

YVERDON

BERN

2 LAUSANNE

1 GENEVA

5 LUGANO

DISCOVERY BUS 3D PRINTING / CODING / VR / GAME DESIGN / ROBOTICS / MAKERSPACE // SPECIAL DECEMBER: INCLUDES A CHRISTMAS DECORATION WORKSHOP

LE LABORATOIRE DU PÈRE NOËL

tickets: https://www.girlscancode.swiss

SDG ZINE

4

next issue SDGzine research & outreach project

SDGZINE #03 NEXT ISSUE // CALLING FOR PROJECTS & PARTNERS 5

SDGZINE - #02

In this issue 8 /Editorial You Can(‘t) Hug Me - Jan Van Mol 10 /Navigation System

12 /SDGs and Design

How To Read this Magazine 16 20 24 26 30 34

/Water Light /Growing Shoe / Lost Graduation Show /Tabula (non) Rasa / Cycled Project / Materials Village

40 /SDGs and fashion

42

/Cura Jewellery

50 56 58

/Polluted Ocean /Voil Age /Between Clouds and Oceans

62 /SDGs and Fab Labs

64 66

/Sustainable innovation in fashion and technolofy /Microsquad - CERN

68 /SDGs and International Geneva

70 76

/Mountain Ecosystems /Handicap Intl

78 /SDGs and Unige

80

/Looking for Open Source Health Solutions

84 /SDGzine Research

84 89

/Colllective Innovation for Waste Management /Geneva City of Responsible Fashion

90 / SDGs and education

92 94

/We are all awesome /Coding for good

48 /SDGs and art

96 /SDGs tools 100 /SDG Challenges

G E N E VA TSINGHUA INITIATIVE

SDG ZINE

for the Sustainable Development Goals

6

Cover Image

Growing Mushrooms as an answer to plastic waste. This bowl was a result of a workshop at the SDG Solution Space with students from India.

The mould was badly wrapped, and air got to the object, allowing for mushrooms to grow again out of the artefact.

See Growing Shoe page 20

This SDGZINE.ORG is an initiative from the ADDICTLAB ACADEMY and partners contributing to the sustainable development goals of the United Nations. ©LAB.002 sarl, 2021 all rights reserved

publisher Jan Van Mol LAB.002 sàrl 4 Reverdil - 1260 Nyon Switzerland SDGZINE address SDGSolutionSpace Campus Biotech Innovation Park Avenue Secheron 15 1202 Geneva - Switzerland

partners François Grey UNIGE Susana Perdiz UNIGE Sarah Lalaz ECOLINT lab researchers Titane Lacroix Alice Guilbert

UNIGE student team 2021 operations Chaewoon Hwang communication Leonie Klamroth education Valentina Rossi UNIGE student team 2022 Jiawei Liu Sui Jin Lini

distribution distribution@sdgzine.org subscription subscription@sdgzine.org partnerships partners@sdgzine.org general inquiries info@sdgzine.org

7

definition ABOUT THE SUSTAINABLE DEVELOPMENT GOALS The 2030 Agenda for Sustainable Development, adopted by all United Nations Member States in 2015, provides a shared blueprint for peace and prosperity for people and the planet, now and into the future. At its heart are the 17 Sustainable Development Goals (SDGs), which are an urgent call for action by all countries - developed and developing in a global partnership. They recognize that ending poverty and other deprivations must go hand-in-hand with strategies that improve health and education, reduce inequality, and spur economic growth – all while tackling climate change and working to preserve our oceans and forests.

The SDGs build on decades of work by countries and the UN, including the UN Department of Economic and Social Affairs In June 1992, at the Earth Summit in Rio de Janeiro, Brazil, more than 178 countries adopted Agenda 21, a comprehensive plan of action to build a global partnership for sustainable development to improve human lives and protect the environment.

Member States unanimously adopted the Millennium Declaration at the Millennium Summit in September 2000 at UN Headquarters in New York. The Summit led to the

SDG ZINE

elaboration of eight Millennium Development Goals (MDGs) to reduce extreme poverty by 2015.

The Johannesburg Declaration on Sustainable Development and the Plan of Implementation, adopted at the World Summit on Sustainable Development in South Africa in 2002, reaffirmed the global community’s commitments to poverty eradication and the environment, and built on Agenda 21 and the Millennium Declaration by including more emphasis on multilateral partnerships.

At the United Nations Conference on Sustainable Development (Rio+20) in Rio de Janeiro, Brazil, in June 2012, Member States adopted the outcome document “The Future We Want” in which they decided, inter alia, to launch a process to develop a set of SDGs to build upon the MDGs and to establish the UN High-level Political Forum on Sustainable Development. The Rio +20 outcome also contained other measures for implementing sustainable development, including mandates for future programmes of work in development financing, small island developing states and more.

In 2013, the General Assembly set up a 30-member Open Working Group to develop a proposal on the SDGs. In January 2015, the General

Assembly began the negotiation process on the post-2015 development agenda. The process culminated in the subsequent adoption of the 2030 Agenda for Sustainable Development, with 17 SDGs at its core, at the UN Sustainable Development Summit in September 2015.

2015 was a landmark year for multilateralism and international policy shaping, with the adoption of several major agreements: •

Sendai Framework for Disaster Risk Reduction (March 2015)

•

Addis Ababa Action Agenda on Financing for Development (July 2015)

•

Transforming our world: the 2030 Agenda for Sustainable Development with its 17 SDGs was adopted at the UN Sustainable Development Summit in New York in September 2015.

•

Paris Agreement on Climate Change (December 2015)

provides substantive support and capacity-building for the SDGs and their related thematic issues, including water, energy, climate, oceans, urbanization, transport, science and technology, the Global Sustainable Development Report (GSDR), partnerships and Small Island Developing States.

DSDG plays a key role in the evaluation of UN systemwide implementation of the 2030 Agenda and on advocacy and outreach activities relating to the SDGs. In order to make the 2030 Agenda a reality, broad ownership of the SDGs must translate into a strong commitment by all stakeholders to implement the global goals.

DSDG aims to help facilitate this engagement. (source https://sdgs.un.org/goals)

Now, the annual High-level Political Forum on Sustainable Development serves as the central UN platform for the follow-up and review of the SDGs. Today, the Division for Sustainable Development Goals (DSDG) in the United Nations Department of Economic and Social Affairs (UNDESA)

8

editorial

You can(’t) hug me Geneva, November 2021 The light at the end of this pandemic tunnel sometimes seems more like an evil spirit with a glow in the dark paint brush in a Covid Cave than actual light bringing us to rescue and salvation.

One wonders, is PPSD a thing yet, or shall I coin a term here: Post Pandemic Stress Disorder. I thought we at Addictlab were flexible and capable of adapting to changing situations, but this last year was just crazy.

It’s a thin line between being agile and running around like a headless chicken. I was proud to have an art work presented on the matter, ‘You can(’t) hug me’. (see insert) SDGs and Design. My visit to the the Salone del Mobile in Italy was sad in so many ways. Normally we would have been there to promote the SDGzine. To exhibit the content. To put up our Covid Egg Desk for people to browse through the magazine and get inspired. And even though Milan had empty streets and cut down exhibitions, it did give me the possibility to talk more with the designers and thus discover so many interesting ideas. There really is hope, and next year we should be there together.

I’d want this SDGzine to document best practices, so by all means, do register on the addictlab.com site and upload your work there linking it to the projects at hand.

But I also want the magazine to help accelerate things. To be the first step in a creative process taken on by multiple people and document about the evolution.

The Fabric Waste project therefor is a good example. Started out as a research project you can read about in this issue. We did not find any partners nor budget, but the research seemed important enough to kick off.

Now we just finished a pilot event in Geneva, with different stations to create awareness and give inspiring ideas to the public on what to do with non repairable fabrics.

A new one is scheduled in January, The challenges and tools pages at the back of this SDGzine are probably the most important ones. That section really should grow, as it’s where you can find ideas and tools to do activities: by yourself, at your school, within your organisation. It’s our call to action.

Proud with the way the magazine is evolving, with new partners, such as Handicap International. We enjoyed helping out on a fundraising event to create awareness showcasing the added value of the 3D printing process.

You can(’t) Hug me At first glance, the transparency of the acrylic sheet and the harsh glove colours show a sterile and uneasy device. Evoking social anxiety and an impossibility of social contact, one can not imagine hugging another human being when wearing this. It’s a cold even desperate image of loneliness. A world without syncing, without family, friends or soulmates.

But allowing interventions by viewers in the art gallery, in a simple movement and touch, the arms can be crossed, thus showing a hug. The artwork becomes a positive symbol of care and tenderness, using the exact same tools used to protect us from the corona virus.

Tools that are proof of human intelligence to overcome the current pandemic. Rather than loneliness, the artwork turns into a sign of hope and dreams of a tender and warm future Art piece using elements of COVID protection © 2021 Acrylic sheets and gloves.

When I’m writing this, some more exciting things are about to happen or to be announced, such as a the project Cloud to Classroom by Nasa , using Google earth for climate change research, or Students from Puerto Rico coming to our SDG Fab Lab, Or our bus getting ready for a trip to learn girls to code and not be afraid of tech. Lots of things we’d share in our next issue.

There is light at the end of every tunnel, and if not, I’ll roll out an extension cord.

Jan Van Mol janvanmol@sdgzine.org

9

manual

Navigation system

How to read this magazine : the 17 SDGS and over 140 Creative Disciplines ABOUT THE CREATIVE CHEMISTRY TABLE The Creative Chemistry Table was created 24 years ago by Jan Van Mol when he founded Ad!dict Creative Lab. The aim is mixing creative disciplines, to get inspiration from other fields and cultures, and obtain more depth in the creation process.

The more disciplines involved, the richer the idea. Ideas were gathered in a publication called Ad!dict.

During the years, Ad!dict Creative Lab – now addictlab – conducted numerous brainstorming sessions, published over 35 books or magazines, and set up ideation processes for companies and organisations going from the Thalys trains, Lexus, Diesel, the chocolate and the design industry, to governments, cities and regions.

Today, the Creative Chemistry table consists of 140 disciplines or human ‘capabilities’, 76 character cards, the 17 sustainable development goals and more. This card set is a concrete package from a proven methodology to allow groups of people and individuals to think out of the box. The sets are used by Addictlab for its own research and creative think tank projects, and by YourOwnLab for its clients and third parties needing innovation

and transformation, and by the Addictlab Academy for innovation in education through the school lab and science education projects.

The card set is divided into different categories and is a unique tool for collective intelligence: •

profiling based on skills & passion

•

out of the box brainstorming sessions & ice breakers

•

strategic reflections

•

business modelling

•

ideation & cocreation

•

student orientation

•

personal introspection

This SDGzine is a project on the www.addictlab.com website. You can follow the making off of SDGzine02 there as well. After registration, you can join the project and add your ideas and work.

What is Addictlab? research: find ideas

Creative Chemistry

Online Community: creative people and hubs

SDG ZINE

innovation: sell ideas

education: share ideas

Brainstorming techniques / ideation processes Be your own creative lab

Addictlab Academy Educational programs Workshops STEAM camps

publications & exhibitions

sustainable development goals

Lab Research

Maker space

Ad!dict magazines SDGzine

Exhibitions/shop

Dedicated SDG research, tools, workshops, exhibitions, publications

10

REATIVITY=CHEMISTRY

VE RY

CREATIV

image shown: Addictlab Creative Disciplines used for profiling, brainstorming and navigation through the SDGzine

CREATIVE CHEMISTRY

11

definition SUSTAINABLE DESIGN The intention of sustainable design is to “eliminate negative environmental impact completely through skillful, sensitive design” Manifestations of sustainable design require renewable resources and innovation to impact the environment minimally, and connect people with the natural environment.

“Human beings don’t have a pollution problem; they have a design problem. If humans were to devise products, tools, furniture, homes, factories, and cities more intelligently from the start, they wouldn’t even need to think in terms of waste, or contamination, or scarcity.

Good design would allow for abundance, endless reuse, and pleasure.” - The Upcycle by authors Michael Braungart and William McDonough, 2013.

SDG ZINE

Design-related decisions are happening everywhere on a daily basis, impacting “sustainable development” or provisioning for the needs of future generations of life on earth. Sustainability and design are intimately linked. Quite simply, our future is designed.

The term “design” is here used to refer to practices applied to the making of products, services, as well as business and innovation strategy — all of which inform sustainability.

Sustainability can be thought of as the property of continuance; that is, what is sustainable can be continued into the future. (source: Wikipedia)

12

SDGs & Design Research > Biophylic Design > Water Light > Growing Shoe > Tabula (non) Rasa > Cycled Project > The Lost Graduation Show > Materials Village

Meba Bioresine uses plant-based raw materials from agricultural or food industry waste for the production of resins to manufacture components and accessories for various applications, including fashion.

The biopolymers to form the resins come from non-edible vegetable raw materials, such as oils that cannot be used for human feeding or residues from corn processing. www.mebabioresine.it 13

book review

A guide to

BIOPHILIC DESIGN I S SU E # 01 - Fe b r u a r y 2021 - BY

space doesn’t reveal all of its details in one go. Offices and living spaces, need to have some secluded areas, but need to keep their welcoming atmosphere. This is what makes Sticks a great biophilic solution, you can play around with dividing a space and keep things feeling open and connected.

Offices and living spaces, need to have some secluded areas, but need to keep heir welcoming atmosphere.

A design that is contagious Another principle in biophilic design is ‘complexity and order’, when there is a spatial hierarchy that is similar to the ones we encounter in nature.

Why and how to bring nature back inside.

Their tabletops have an organic pattern perforated in them, so that they are interesting even on a small scale, and have legs that come out of the ground like abstract roots. The overall effect of a group of these tables feels organic, as if they ‘grew’ in that space About Extremis Extremis was founded in 1994 by Dirk Wynants. The Extremis furniture design collection represents products that are both necessary and useful. They are ‘Tools for Togetherness’ that stress the importance of and enhance human interactions, intelligent problem-solving and sustainability, to improve people’s lives.

Extremis has its headquarters in Poperinge, Belgium. The design furniture is very popular in all corners of the world.

Biophilic design is part of our nature “As humans, we always seek a connection with nature and other organisms.”

As humans, we always seek a connection with nature and other organisms. This connection, is part of the Extremis DNA, and runs through all of our designs. Biophilic design reintroduces nature into man-made environments, to benefit those who dwell inside.

It emerged in 1984, pioneered by Edward O. Wilson, an American biologist, naturalist, and writer.

Architects and interior designers, have used our tools for togetherness in biophilic spaces, to great effect. Sticks and Virus are good examples of how we apply this new way of thinking to our designs. We love the sound of a stream, because it tells us that we have access to fresh water and therefore have a good survival chance. Playing with space A biophilic space doesn’t always require plants that need watering.

One of the principles in biophilic design is ‘mystery’, when a

SDG ZINE

www.extremis.com

Biophilic design is a concept used within the building industry to increase occupant connectivity to the natural environment through the use of direct nature, indirect nature, and space and place conditions. Used at both the building and city-scale, it is argued that this idea has health, environmental, and economic benefits for building occupants and urban environments, with few drawbacks. Although its name was coined in recent history, indicators of biophilic design have been seen in architecture from as far back as the Hanging Gardens of Babylon. (wikipedia)

14

covid-egg

Social distancing furniture eggshell/ter info@covid-egg.com +33 679 91 11 13

15

Water Light Inspired by Colombia’s indigenous Wayúu community, WaterLight transforms basic salt water into electrical power and aims to deliver clean energy to millions

SDG ZINE

16

15 April 2021, Bogota: Colombian renewable energy startup E-Dina and WPP’s Wunderman Thompson Colombia have today launched WaterLight, a revolutionary device which turns a simple natural resource – salt water – into life-changing electrical power. The pioneering product was developed in response to a set of sobering statistics: despite progress on global energy targets, the World Health Organization reports that 840 million people are currently without access to electricity, hindering their ability to work beyond daylight hours, carry out essential tasks and stay connected to the wider world. With electricity demand expected to increase by 70% by 2035, and traditional fossil fuels estimated to be depleted in the next 52 years, this innovative new solution is urgently needed.

Co-designed and co-developed by WPP’s Wunderman Thompson Colombia, WaterLight’s groundbreaking application harnesses the power of ionization, a simple scientific reaction whereby salt-water electrolytes react with the magnesium on the inside of the device, producing electrical energy.

As well as functioning as a portable lamp – half a litre of salt water placed in the device provides an incredible 45 days of light – WaterLight is also capable of charging small appliances such as a cell phone or a radio via a USB port.

Perfectly suited to seawater, the device also responds to fresh water mixed with salt and even – in emergency situations – urine.

In creating this forward-facing technology, E-Dina and Wunderman Thompson Colombia looked to the age-old traditions of the Wayúu, an indigenous community living on the remote La Guajira peninsula straddling the ColombianVenezuela border. Although access to electricity is limited, the arid desert terrain is surrounded by the most powerful battery in the world: the sea. With the help of WaterLight, the Wayúu will transform an abundant natural resource into a safe, sustainable way to power their lives, from night fishing to charging mobile phones without the need to travel for miles, creating a sense of connection within the community and to the wider world.

The Wayúu’s rich cultural heritage is further reflected in the waterproof design of the WaterLight device. Decorated with traditional patterns and symbols of power, the wooden surface draws inspiration from the ancient art of ‘Kanas’ weaving, with stylised geometric figures representing the sea, fauna and flora of the natural environment. Meanwhile the strap, created by a ‘Eünün’ – the craftswomen of the community – stays faithful to its artisan roots.

17

In line with E-Dina’s commitment to sustainability, WaterLight has been created as a long-lasting, 100% recyclable product.

Designed to function for 5,600 hours – which equates to over 230 days or 2 to 3 years of use – its capacity to deliver clean electrical power is not limited to La Guajira.

Poised for a worldwide roll-out, WaterLight’s potential is truly global.

Half a litre of salt water can provide an incredible 45 days of light

Many developing nations such as Sierra Leone, Nigeria, Gabon, Somalia and Syria are in a similar position to La Guajira, lacking access to energy but with the benefit of a coastline. For governments, NGOs and private organisations seeking sustainable technology solutions for these specific coastal communities, WaterLight represents an innovative, cost-effective option. In addition, with the global refugee crisis set to worsen over the coming years, the device could also prove invaluable for aid charities providing migrants with essential amenities, particularly in situations where resources are scarce.

WaterLight can be purchased by governments, NGOs and private organizations.

More information here: www.waterlight.com.co www.edinaenergy.com https://instagram.com/edina_waterlight https://twitter.com/EdinaWaterlight

Bas Korsten, Global Chief Creative Officer, Wunderman Thompson: “WaterLight demonstrates how the holy trinity of technology, creativity and humanity can produce a genuinely ground-breaking idea – one which holds the potential to transform life for millions of people. Cutting-edge innovation will only move the dial so far: to drive real change for a better world, we need ideas with humanity at their core.”

SDG ZINE

18

19

Growing Shoe design by Nature

SDG ZINE

20

21

SDG ZINE

22

Kristel Peters is a shoe designer with more then 15 years experience in the international Fashion Industry. Currently she is an artistic researcher in KASK / School of Arts of Hogent working on the project ‘Rethinking High Fashion Shoes’, funded by the research fund arts of University College Ghent. As part of this project, Kristel is exploring possibilities for the development of sustainable shoe design. Focusing on circular economy models, she is particularly interested in and in search for sustainable methods for shoe making and for new materials with low/no impact.

‘Alice’, a new modular shoe made from funghi. ‘Alice’ consists of two detachable parts: the base and the upper. The base is a modular shoe structure, produced through additive manufacturing. The upper is replaceable and it consists of “zero waste” materials. The full shoe can be adapted and customized according to the needs and/or the trends. Thanks to its modular qualities, the shoe is fully recyclable.

23

The Lost Graduation Show

↘ For the first time ever, the Salone del Mobile furniture fair this year hosted an entire showcase dedicated to graduate design including students from 48 different schools and 22 different countries.

More than 170 projects by recent graduates were on display at The Lost Graduation Show, which formed part of the trade show’s special “Supersalone” edition during Milan design week. ( picture Diego Ravier / Salone del Mobile)

SDG ZINE

24

(Milan Design Week report)

25

Tabula (non) Rasa ↘ Designed and curated by studio.traccia.

This installation connects design and food-waste, as an initial attempt to discuss a wider issue: the possibility of a Non-Extractive Architecture.

Invited at this table are researchers, designers and companies whose work is currently exploring new paths towards that direction.

SDG ZINE

26

(Milan Design Week report)

Each year, about 20% of the FOOD produced in the world for human consumption (around 931 million tons) is lost or wasted. Let’s understand this a bit better ... Imagine a fully loaded 40 ton (40,000 kg) truck. Now imagine 23 million of these trucks. If placed in single line they make up a ribbon 7 times long the diameter of the earth (more or less 264,000 km). The weight of those 23 million vehicles is equal to that of all the food that EVERY year, globally, is wasted or thrown away.

Every year about 30% of the waste produced by the entire EU comes from the world of DESIGN, ARCHITECTURE and CONSTRUCTION. We continue to extract and produce in a linear TAKE-MAKE- WASTE system that operates according to the clearly obsolete assumption that considers the planet aninfinite source of resources.

Goal 12 of the United Nations 2030 agenda calls to ensure sustainable consumption and production patterns. Target 12.3 reads: “By 2030, halve per capita global food waste at the retail and consumer levels and reduce food losses along production and supply chains, including post-harvest losses” Target 12.5, also states: “By 2030, substantially reduce the production of waste through prevention, reduction, recycling and reuse”.

An interesting fact is that most of the food waste occurs inside our homes. Of the total of approximately 931 million tons of waste produced, 61% occurs in the private household, 26% in catering and food service and 13% in retail. It is therefore personal behaviours (certainly induced by a consumerist society) that must be reviewed.

The constant quest for novelty and the magnified consumption of the latest trends produced by our own capitalist system, have actively encouraged excessive resource extraction and uncontrolled overproduction, which largely contributes to the creation of an ever-increasing number of waste.

The effects on the environmental impact should not be forgotten - Wasted food is traditionally managed through composting or “disposed” in landfills or incinerators. These cause heavy CO2 emissions, to which the corresponding percentage of greenhouse gases previously emitted for the production and processing of that same food should also be added.

27

If we look at plastic, in 2019 over 100 million tons of waste were produced by the design sector alone, of which only 30% is recycled, while the rest is incinerated or sent to landfills. Most of the current “bio-valorisation” of food waste generates low to medium value products such as biogas and compost.

Given the impressive volume, wouldn’t it be interesting if the organic waste of our cities could provide the raw material for high-value products, thus contributing to the construction of a new paradigm based on a zero-waste circular economy?

Design has always played a fundamental role in facilitating alternative visions, promoting narrative changes and describing future scenarios in which new ideas settles into new habits. Waste is abundant and cheap, traditional resources are limited and expensive.

What if we could turn the problem into the solution? What if waste became our new resource?

The table is an object symbol of sharing, of aggregation and conversation, especially in Italy where food itself plays an extremely social function. A meeting point, where gathering with a brutal awareness though: personal responsibility cannot be ignored and strategies for the future cannot start from scratch. We must start from what exists, physically, always.

A TABULA [non] RASA therefore, which embodies the principle of a new paradigm, being made in all its parts from scraps and food waste. A table, made up of a series of independent tables which are at the same time complementary: a set of individuals that together become a larger entity - basically a society.

Is it a suspended dinner or one that has yet to begin? It’s both. It is an end and also a beginning, but above all it is a transformation. Of matter and mindset. Tableware made with food scraps and organic materials, created by international designers, enliven the conversation, describing us a new circular logic and bringing back the focus to research.

TABULA [non] RASA is a declaration of intent. It is a commitment. It is a duty.

A sincere thank you goes to the designers and companies whose research is currently exploring these fields and who enthusiastically agreed to contribute to the project: BASSE STITTGEN | CRAFTING PLASTICS! | EMMA SICHER | MALAI | MIDUSHI KOCHHAR | MOGU | NEWTAB-22 | ORANGE FIBER | REPULP | RICEHOUSE

SDG ZINE

The use of organic waste for the creation of new materials that could replace traditional ones is only one of the possible paths that must be urgently explored. It is a way of relating two separate problems, which together have the capacity to produce reciprocal solutions, and at the same time to generate positive effects on a social, economic and environmental levels.

Finding alternatives to the exploitation of limited resources became in the last decade, one of the most explored field of research perhaps, but as far as the construction sector is concerned, the change must be more radical, given the complicated network of relationships that connects this specific field to the rest of society and its economic actors.

To make this large-scale transition possible, it is necessary to rethink all the mechanisms of the architectural practice, construction, design, planning, but also (and above all) project financing, governance, legislative and economic agents, institutions. While it is necessary to encourage the development and growth of alternative practices, there should be, on the other hand, a discouragement of unsustainable ones, such as the excessive mobility of goods. Every professional working in this sector need to be ready to question their role in society. And this questioning must result in an in-depth study of the entire complex mechanism of all the parts revolving around architecture, and society in general.

How to modify each component in order to produce a different model of development, where the ultimate goal is not the immeasurable accumulation of capital but a society in balance with itself and with the planet? Technology is now totally intertwined with all aspects of our existences, therefore the approach should, on one hand, look at geotechnologies, while developing, on the other hand, geopolitical frames, in order to make sure our future metabolic loops would actually be socially viable.

In this context, a different kind of institutions would be needed, one that could operate at a planetary scale. The idea of a NonExtractive Architecture, which questions the acceptance of the creation of externalities* is now a necessary paradigm.

Although it will take time, which is necessary to imagine new development models and acquire new habits, the invitation to discuss them and to outline different solutions must happen now.

The role that design must have from now on, should be to translate emerging environmental awareness into informed and collaborative responses. Personal responsibility is always the first step towards any form of change, which is why we felt it is important to turn our attention, and yours, to this issue.

28

The installation consists of a large table made with recycled steel and MOGU an innovative material composed by organic resin and food scraps. Various tableware created by international designers, working on the upcycling of food-waste into new materials will be set up on the table. Suspended above it, like a large chandelier, an aerial sculpture of agro-waste and pruning leftovers will celebrate a new design process in which the Place and the Season are the main influencers, raising awareness to the specificity of a territory and seasonality.

We chose to design a table as this simple furniture piece is an object symbol of sharing, of aggregation and conversation, around which ideas are opposed, shared, collected, discussed and

debated. A table is a gathering place, a communal space where social acts are enabled: it is therefore our invitation to take part to this urgent discussion.

The table is actually made by 5 independent tables which are at the same time complementary: a set of individuals that together become a larger entity - a metaphor of society. Each single table, on its own, is a uniquely shaped piece with an organic and yet controlled geometry; when joined, coupled or placed close to another module it shows the harmoniousness but also the juxtaposition, revealing a natural tension that gets dissolved when they come all together to form a large leaf-shaped table.

Studio.traccia. is a multidisciplinary practice with focus on architecture, design and photography, based in Milan, Italy. It was founded in 2020 by Claudia Orsetti and Luigi Olivieri. The studio works at multiple scales, always trying to turn the constraints they are presented with into opportunities. Their architecture, made of collisions and contradictions, is always driven by a strong narrative which is the compass and the governance of both its physical manifestation and its experience. Sustainability of resources and of thinking is at the core of the studio’s ethos, which is expressed through different projects where the working methodology always revolves around sharing, connecting and interweaving both knowledge and people.

This became the main reason why in January 2021 they started an online series of talks, called Tracce. Tracciare means showing new possibilities and it’s to feed this sense of exploration that creatives from different fields and with different backgrounds were asked to join in conversation talking about their work and their working methodology. The intention was to let emerge topics and themes of the contemporaneity, beyond the traditional division into disciplines, to investigate, question, or connect this increasingly multifaceted present.

For Milan Design Week they have collaborated with ALCOVA, by bringing Tracce live, realizing 3 talks with the aim of submitting for discussion the most interesting topics emerged during the online talks. The guests have been: Davide Rapp, Fosbury Architecture, Sebastiano Leddi (Perimetro), Angela Rui, Fondamenta, Simone Bossi, Beka&Lemoine, Studio Folder and Crafting Plastics.

Claudia studied Architecture in Rome and in Switzerland at Accademia di Architettura di Mendrisio where she graduated in 2010, with Professor Valerio Olgiati. She has since been working around the world, first in Milan for Cino Zucchi, then in Tokyo, for SANAA and ultimately in London, for Heatherwick Studio, where she was Associate and Senior project leader for almost 7 years. In these firms she had the chance of working on complex international projects while leading large multi-disciplinary teams. She is often invited as guest critic in Universities such as the AA Architectural Association of London and The Bartlett School of Architecture. In 2020 she moved to Amsterdam where she brought forward a series of photographic projects, for which she has been awarded GUP New Talent 2021. Photography is part of a working methodology that she uses to investigates territories and that she often uses as a tool to question reality.

Luigi studied Architecture in Rome, at University of Vallegiulia La Sapienza, Roma Tre and at the ITECH of Stuttgart. He has been teaching and collaborating with Princeton University, The American University of Cairo and Cornell University. From 2021, he will be teaching also at Politecnico di Milano. He has also been working around the world: in Berlin for Tomas Saraceno, in London for Heatherwick Studio and in Amsterdam for UNstudio. He is interested in the possibilities of the digital world, not just as a drafting tool but especially when combined with materials and their properties. In 2020 they founded together studio traccia, and in 2021 they decided to move back to their home country and to establish their practice in Milan, a city they find particularly interesting for its double identity as last mediterranean outpost and first European metropolis.

29

Cycled Project ↘ Two Italian brothers with a heart for biking have decided to create an ecofriendly startup to upcycle used bike tires into fashionable objects.

SDG ZINE

30

(Milan Design Week report)

Silvio and Luca Potente are born and raised in Marcon, a little town near by Venice, in the early eighties.

They spent their childhood playing many sports and cycling for passion that their grandfather passed to them.

Coming from a middle class family, (father industry labour and mother housekeeper) they spent their secondary school been on the “class average” behaving properly surrounded by a regular country-side lifestyle.

-Silvio: March 15th, 1982 High school: Nautical Technical Institute “Sebastiano Venier” school years 1995-2000, mark 72/100.

-Luca: March 13h, 1985 High school: surveyor institute “Massari” school years 19982005, mark 80/100.

An important decision that both brothers have taken in their young age were to do not follow any university studies and start their careers experience.

-Silvio: Straight after High School he started a job in his education sector as Maritime Agent in Venice Port, (20002006) which gave him strong knowledges in logistics, foreign languages, administration and business interaction.

Following his interest to learn languages, his life changer decision has been to move abroad to London, working as bartender and bar manager, taking his bicycle, he spent almost 7 year woking, living and biking around UK (20062013).

-Luca: he was not fully satisfied about his rural lifestyle and mentality, so he decided to move abroad and to start a new life, working and living in Ireland, Dublin. (2005-2007) Realized he was fitting perfectly this new life, he started to work as youth hostel receptionist which gave him the opportunity to move through Europe (Holland, Spain,U.K. and France) growing his career experience and up-grading his position from hostels to luxury Hotels (2007-2013). A faithful companion of travel was his bike which changed from regular street bike unto fixed gear, showing him a new underground environment.

Being both truly passionate and artistic soul, helped by their abroad experience and life-teacher of maximization of anything passes though their hands, their pulse to save materials found focus on their own street-bike tires. Having no proper tools to handle this strong and virtuous material they begin to work on it with just hands, scissors, puncher, needle and thread: the result was a belt. A belt made by street bike tread, fully handcrafted, super resistant and totally eco-friendly.

Starting to produce belts for themselves first, sharing it with friends after, they finally decide that this upcycle

31

SDG ZINE

32

product was ready to be shown to a couple of friend’s shops in Venice and Padua, being sure there is no better test than shops customer approval.

Another important moment of their life has been “the southeast Asian trip”: realizing that being separate from over 6 years they decide to take a break from work and star their first long term trip together heading East.

During those six monhs, relaxing and sharing unforgettable experiences together, they realize that belts were receiving important feedbacks from customers, curious, few bloggers and Journalists which were asking more informations about the two Brothers and their unique product so they decide that at the end of their trip they would quit their jobs and move back home to found CYCLED. (May 2014) Well, easier to plan in a sunny beach than to make it for real once back home!! ;) The first six months after their return they have been spent sit on a table, planning ahead, writing, discussing how it would have been Cycled future, without touch any tool or tire.

First step to face for Potente’s Brothers was raw material supply in fact they started to contact bike-shops asking them to put on a side any racing bike tire they were trowing away. Apparently it seemed an arduous task but the common passion for cycling and a very well planned Project have convinced the 90% of the shop owners around 300km from their hometown. So far more than 200 bike shops replied to Silvio and Luca’s call!

Plans for the future of Cycled, Goals: To focus on making our brand known worldwide using our up-cycle products in order to spread our green manifesto, to make everybody understand and make people feel part of a difficult but doable change.

How many tires / year you save from the landfill: Starting at the end of 2014, we can tell, by our progressive numeration with iron branding the inner side of each belt, we saved from landfill over 8.000 pieces (over 16km flatline) and made all of those satisfied and happy customer, plus counting our stock of tires available in ourwarehouse, we could reach up to 21.000 future belts!

Why you think this is important: It’s extremely important to be an example, to show that it’s possible.

Explaining that looking after our pollution/garbage is an essential achievement of each human being. and how: -enlarging people awareness on recycle/up-cycle.

-events and workshops that explain how do we make it.

-organising lessons in Primary Schools.. kids are the future. info@cycledproject.com

Second step was to build up a transparent and engaging Brand image. Once they succeeded (it’s anyway still a work in progress with the brand evolution) the two brothers felt ready on exploring retail market, agents, distribution and Fairs. Applying to national and international Fairs (Berlin, Copenhagen, Las Vegas) and being accepted and rewarded with great results, their consciousness about proceeding the right path has been confirmed.

(Las Vegas “Five Pillars Social Responsibility” Liberty Fairs http:// libertyfairs.com/shows/las-vegas-shows/ Four years could seems long time but not to build a brand: the brothers says that they’re now approaching the most important bike tire producers, receiving positive responses about using materials, brand, collaborations and official merchandise because those huge Companies also realized and understood how important are Cycled topics.

Recently an important invitation to attend at TEDx Talks during the forthcoming October and they’ve been active part of the Giro d’Italia on savings “famous tires” (pro-cyclists) to start a collaboration you’ll see quite soon.

33

Materials Village ↘ event created to promote the development and the diffusion of innovation and sustainability starting with materials

Nazena is a material made through a patented process that allows the recovering of fibers of textile waste in a product upcycling perspective.

Starting from the garment no longer reusable, cleaned of accessories (buttons, zips, etc.), the fabric is reduced to flakes and reassembled in the form of panels of different thicknesses thanks to a plant-based binder.

The panels thus obtained can be used in stands, retail, packaging.

In this way, a second life is guaranteed to fabrics that are currently largely not recovered.

Website: http://nazena.com/it/ Contacts: giulia.derossi@nazena.com

SDG ZINE

34

(Milan Design Week report)

Materials Village - Special Edition a project by Materially Superstudio Più - Via Tortona, 27 4 - 10 September 2021 In this Special Edition, at the Milano Design Week 2021, Materially presents the seventh edition of Materials Village, the event created to promote the development and the diffusion of innovation and sustainability starting with materials.

Hosted by the Superdesign Show 2021 of Superstudio Più, Materials Village will offer a completely new exhibition format. The indoor exhibition will showcase aspects of the material transformations surrounding our everyday lives; this will demonstrate the innovation and attention to processes that exist at the centre of companies and startups we work with.

An area of the Village will be dedicated to the exhibition “WastEnders” which will present innovative materials and everyday objects coming from agricultural, urban or industrial waste. The value of these products lies not only in the materials that constitute them, but also in the transformation technologies used, the synergy of industrial symbiosis, the established partnerships between the diverse players and the supply chains that all together turn waste into value from a circular economy point of view.

At Materials Village, companies and startups will present materials, showcasing productive processes and technologies aimed towards sustainability and optimization of performances.

Among these companies, Foliae Surfaces focuses on the possibility of rethinking the use of natural raw materials in the production of materials for furniture to propose sustainable alternatives with flexible and post-formable concrete coverings, wall panels and transparent and backlit panels.

The ecological proposal of Hometreschic is expressed in the new collection of cement

tiles resulting from research for a finishing technique that respects the environment.

Handmade with a low environmental impact processing, they already have a protective treatment in the production phase that does not use chemicals.

Guided by the CYCLE OF GOODNESS® philosophy – no one prospers without rendering benefit to others – YKK aims to contribute to a sustainable society through its products and manufacturing operations; recycling friendly zippers and buttons, sustainable zippers due to the recycled tape made from PET bottles and other post-consumer materials and zippers partially made with the by-product of sugar production which allows for a reduction in its petroleum usage and the associated C02 emissions.

MATERIALLY S.r.l. Impresa Sociale viale Sarca 336 – Ed. 16 20126 Milano T +39 02 8689 1721 E info@materially.eu www.materially.eu

In addition, the initiatives co-financed

by European funds, which see Materially participating as an active partner and promoter, are presented. Particular space is given to the Datemats project that focuses on knowledge transfer in designing for and with emerging materials and technologies (EM&Ts), and to the research and innovation project GRETE that develops innovative technologies and processes for the generation of truly sustainable manmade cellulosic fibres.

Materials Village is a project by Materially.

Coordination, Chiara Rodriquez and Federica Pastonesi Exhibit Design, Federica Pastonesi The exhibition “WastEnders” is curated by Anna Pellizzari _______________ Materially helps companies with the development and diffusion of innovation and sustainability starting with materials.

It operates with a design oriented approach and attention to themes such as Circular Economy and intelligent innovation thanks to the daily research process and a constant dialogue with the different players in the material world: universities, startups and companies that offer and require solutions to apply to their production processes. www.materially.eu Contact information: Maria Giovanna Sicignano gsicignano@materially.eu Daniela Scalia dscalia@materially.eu Follow us on: Facebook: @Materiallyeu Instagram: @_materially_ Linkedin: Materially

During the whole duration of the Design Week, all the contents presented by Materials Village and its exhibition will be broadcasted through “Materially Talks”, a series of daily online talks and panels.

Among these, Il futuro non è un pacco, in collaboration with EdizioneAmbiente, will delve into the new European guidelines on environmental labeling for packaging and its impact on design, consumptions and business management.

35

Materials Village ↘ event created to promote the development and the diffusion of innovation and sustainability starting with materials

Coffeefrom is an innovative bio-based material from post-industrial recycled coffee grounds and a blend of biopolymers, entirely manufactured in Italy.

For the food industry and catering, coffee grounds constitute a waste of the production process; in this way, instead, they become a high value raw material with a new life, according to the principles of the circular economy.

Coffeefrom adapts to multiple application contexts, representing a zero-waste alternative to traditional plastic.

Website: https://www.coffeefrom.it/it

SDG ZINE

36

(Milan Design Week report)

Nature-L® is a metal free tanning method adopted

by Conceria Nuvolari for the treatment of sheepskin for the footwear and fashion industry, which allows to obtain a product free of chromium and heavy metals and certified compostable .

Leather is a by-product of the food industry, a waste that through various processes becomes a durable and resistant material. To further reduce the environmental footprint (CO2 and water emissions) of leathers, Conceria Nuvolari adopts natural and low-impact tanning processes, certified by an LCA (Life Cycle Assessment) study.

Website: https://www.santori.com/

Meba Bioresine uses plant-based raw materials from agricultural or food industry waste for the production of resins to manufacture components and accessories for various applications, including fashion.

The biopolymers to form the resins come from non-edible vegetable raw materials, such as oils that cannot be used for human feeding or residues from corn processing.

Website: www.mebabioresine.it

Contact: sara.santori@santori.com

37

Materials Village ↘ event created to promote the development and the diffusion of innovation and sustainability starting with materials

Ananasse is a material proposed by Verabuccia that recovers the external waste of the fruit transforming it into a new material through an innovative and patented process.

The material has a scaly surface, visibly similar to the animal skin of a reptile and with technical characteristics, such as rot, strength, flexibility, which allow the material to be pierced, sewn and dyed in different shades.

WEBSITE https://www.verabuccia.it/ Contacts: francesca.nori@icloud.com

SDG ZINE

38

(Milan Design Week report)

Mixcycling® is a family of biocomposites containing organic fibers derived from agricultural waste (such as rice husk or silver skin) and from industrial production (such as cork, marc, etc.), preferably at Km 0. These waste are inserted in a matrix polymer that can be from renewable, recycled or virgin source, through a patented manufacturing process.

Mixcycling® also promotes the creation of a community for the development of tailor-made sustainable materials, to give a second life to various organic waste.

Ricehouse is a family of 100% natural green building materials, including substrates, insulating biomass, mortars and plasters, that incorporate agricultural waste from the rice supply chain.

RH 420 finishing coat bio-plaster is a composition based on selected clay of the highest quality, natural hydraulic lime, very pure aerial lime and rice chaff coming exclusively from Italian rice fields, pigmented through the use of natural earth and marble powders.

RH 120 finishing coat bio-plaster is instead a composition based on rice husk, hydraulic lime and very pure air lime. On request it can be added with marble or cocciopesto powders.

Website: www.mixcycling.it Contacts: sofia@mixcycling.com

Website: www.ricehouse.com Contacts: katerina@ricehouse.eu

39

definition SLOW FASHION Slow fashion, is a concept describing the opposite to fast fashion and part of the “slow movement”, which advocates for manufacturing in respect to people, environment and animals. As such, contrary to industrial fashion practices, slow fashion involves local artisans and the use of ecofriendly materials, with the goal of preserving crafts and the environment and, ultimately, provide value to both consumers and producers. (source:Wikipedia)

SDG ZINE

40

SDGs & fashion > Cura Jewellery

41

ADDICTLAB.COM/ MEMBER

Cura Jewellery Sustainable & Eco-Conscious statement jewellery, made with recycled plastic handcrafted in Switzerland

Originally from South Africa, I moved to Switzerland with my half Swiss/ half South African Husband in 2017. I studied Fashion in South Africa and spent most of my career in Visual Merchandising for Premium & Luxury Brands. I am a perfectionist & adore beautiful spaces & objects, so it was a career I thoroughly enjoyed. Upon moving to Switzerland, I enlisted the help of an amazing job coach to help me navigate the ins and outs of looking for and applying for jobs in Switzerland. I remember when I first met Sandrine from ‘Jobs 4 you’, her positivity filled the room! From the beginning she encouraged me to use my creativity and forge my own path, but I didn’t listen. Well, fast forward 16months, after months of job hunting and increased disappoint with the Fashion industry, and I’m sitting with Sandrine again. This time I had an idea, and a prototype. So, we changed course. I stopped the job hunt and started my journey as an entrepreneur!

I remember when I had my first spark of an idea for CURA. It was after I had cleaned out my closet in a bid to scale down and be more mindful of my shopping habits. I had a bunch of jewellery that had tarnished, and I had no idea what I would do with it. It was beyond a second-hand store, so which bin

SDG ZINE

would it go into? Could it be recycled? My mind started to consider that it was all made of different elements- metal and… actually I didn’t know what else. I googled it and learnt that most of it was resin or acetateboth of which are derived from petroleum.

Most resins and acetates are not recyclable I discovered; however, the metal was, but it was impossible to separate it all. This new information swirled around in my brain and I started to problem solve. Surely there was a better way?

A couple days later I discovered a community using recycled plastic to make everyday objects. They were taking used milk cartons, bottle tops etc, melting it, pressing it and milling it into shapes. The lightbulb went off in my head!!! What if I made jewellery from recycled plastic and designed it in a way that it could be easily disassembled so it can be recycled again after use!? I told my husband my idea and he was dubious- I think he imagined bottle tops hanging from my earlobes! So, I started doing some research and then I started prototyping. It took about 8 months to develop a method that created a product that looked polished and professional. Through this trial and error though, I learnt about the unique properties of this material, and the best way to manipulate it.

The process for making CURA jewellery is quite unique. I collect used plastic from friends, the trash and while out and about in the city. I clean it all thoroughly and sort it by colour. Once I’m ready to create, I pop the plastic into a mini oven, with the temperature set to 180 degrees. And then I wait. Slowly the plastic melts. Once it has reached the desired consistency (and once I have done a few other tricks that are my little secret) I quickly remove the melted plastic and pop it into a vintage book press and crank it down. The plastic I work with is a thermo plastic, meaning it melts with heat, but when it cools it warps and distorts. Thus, it is necessary to use force to press it into an even, flat sheet. Once cool, the sheet is removed from the press & its unique design is revealed. If I am not happy with the result, I can just pop it back into the oven. That is the beauty with this material. It can be re-melted multiple times. I re-use all of my scraps & failed attempts, so the process is zero waste. The next step involves a special machine called a CNC- computer numeric control. This machine uses code to direct a milling head to carve out your designs from the plastic sheet. To do this, I have to take my designs and convert them into code that the machine can read. Currently I go to a Makers Space in Fribourg- MiY Makers

42

Space- where I rent a machine for the day.

From one small sheet, I cut one of each style of earring, making every pair one of a kind. I can recreate certain colours; however, most are completely unique and not repeatable.

After cutting, I can do a quality check on all the parts I have cut and prep them for assembly. Whatever is left over or deemed defective is melted again to create something new! Sometimes there may be air bubbles inside the sheet that only reveal themselves after cutting, or there may be a scratch on the surface. These pieces are all collected and returned to the melting pile. Some pieces may have show signs of being handmade, but this is just part of their unique quality.

I combine the plastic shapes I have created with gold and silver-plated brass elements, to elevate the product and give it longevity. My jewellery is designed to last, and not be discarded when the next trend rolls around. Over 80 percent of the worlds brass in circulation today is recycled, as it is actually easier to recycle it than create it from scratch. As for the gold and silver, I use a very fine plating, the reason being that precious metals can be very hard to trace in terms of how and where they were mined, and if recycled. So, for this reason I try not to use a lot of it, but I use enough to give the metal a beautiful lustre that lasts.

Most costume and fashion jewellery today are made from resins and acetates, with are virgin, petroleum-based materials that harm our planet when sourced. They are not recyclable either. Also, the fact that it’s made and readily available for cheap, means

its easily & quickly replaced or discarded. It’s a vicious circle that may seem small but has a massive impact on our planet. I wanted to find a solution to this problem. Besides precious metals, can we create recyclable jewellery from other, sustainable materials?

Plastics, like HDPE & LDPE, were invented to be used multiple times due to its durability, but soon became a single use material and a nightmare for our planet. It’s seen as trash, and treated as such, but if we changed the way we see it and use it, and changed our views on what’s considered valuable, perhaps we wouldn’t be so quick to discard it?

I offer my customers the option to return their jewellery to me once it has reached the end of its life, so that I can recycle them again and create something new. In return, the customer receives a discount on their next purchase. By doing this, I am taking responsibility for what I am creating and putting out into the world. I believe it’s so important as a designer and maker to adopt circular production methods so that we reduce out impact, and also make it easier for the customer to shop sustainably.

Creating and launching CURA was a huge moment for me when I recognized that I could use my creativity to carve out a career for myself & make a difference. I still get excited with every sale and feel incredibly proud to know that people love what I create, and that I am making a small difference to a very big problem.

About the brand/ Mission statement: CURA is a sustainable and eco-conscious jewellery brand that uses recycled plastic to create unique & lightweight jewellery. CURA was born out of a desire to create jewellery made from sustainable materials, & that could be easily disassembled for proper recycling at the end of its life. By using plastic by-products to create beautiful jewellery, CURA challenges perceptions on waste & where we place value. All our customers have the opportunity to return their CURA jewellery when it has reached the end of its life, so that it can be recycled properly & safely. All plastic parts are recycled again and turned into new jewellery. By doing this, CURA is taking responsibility for what we create and put out into the world. CURA believes it’s important to adopt circular production methods so that we reduce our impact, and also make it easier for the customer to shop sustainably.

CURA Jewellery is made from using 100% recycled HDPE plastic, and gold and Silver/ Rhodium plated brass components. The HDPE plastic used in CURA jewellery is processed in an environmentally friendly manner, requires no virgin materials and results in zero by-products. Any waste, offcuts, or parts deemed defective are recycled again, meaning we have zero waste. All of our brass components are made with 100% recycled brass.

Kelly Jaquet

43

SDG ZINE

44

45

SDG ZINE

46

47

definition SUSTAINABLE ART Sustainable art is art in harmony with the key principles of sustainability, which include ecology, social justice, nonviolence and grassroots democracy.

Sustainable art may also be understood as art that is produced with consideration for the wider impact of the work and its reception in relationship to its environments (social, economic, biophysical, historical and cultural). (source:Wikipedia)

SDG ZINE

48

SDGs & ART > Polluted Ocean >Voyage en toute conscience >Between Clouds and Oceans

49

Polluted Ocean Démarche : Redonner de la noblesse aux matériaux les plus pauvres, redonner de la magie là où tout nous pousse à être pessimiste. Difficile à classer, mes œuvres mixent les références et les techniques liées aux arts, au craft et au design.

Les pièces sont réalisées sans dessins préparatoires, dans l’urgence, au hasard des assemblages. Ce n’est que quand elles ont trouvés une juste tension, un équilibre, qu’elles sont finies. Matière à penser, elles expriment les espoirs de l’enfance, mêlés aux doutes de l’adulte.

Parcours : Isabelle Azaïs a étudié les beaux arts en France. On retrouve dans sa pratique des cycles de 10 ans. Elle a utilisé le médium de la peinture pendant un premier cycle, mais c’est dans la création de bijoux coutures en cuir qu’elle s’est fait connaitre. Aujourd’hui, Isabelle AZAIS questionne notre lien entre fascination/répulsion avec les matières plastiques et les questions de décroissance dans l’art.

Isabelle AZAIS est représentée par Mathilde Hatzenberger Gallery 145 rue Washington, 1050 Bruxelles.

Isabelle AZAIS isabelle.azais@gmail.com Isabelle AZAIS est représentée par Mathilde Hatzenberger Gallery 145 rue Washington, 1050 Bruxelles.

SDG ZINE

50

51

53

SDG ZINE

54

55

Voyage en toute conscience Pour cette exposition, je propose une installation qui soulèvera un sujet de questionnement éternel : notre place en tant qu’être humain dans la nature.

J’instaurerai par le biais de ma vision d’artiste, un dialogue intime avec ce monde complexe qui nous entoure.

Au cours de mes déambulations en forêt, au milieu des arbres, mon esprit s’est mis en veille et a laissé place à mes sens. Mes yeux se sont portés sur les arbres et plus particulièrement sur les arbres morts, leur position défiant l’ordre et la verticalité de leur descendance. Ils sont là, portés, soutenus, comme un souvenir nourricier, ou abandonnés à même le sol, comme un souvenir qui laisse une trace visible, comme un fardeau que l’on doit porter. Leurs formes sinueuses, granuleuses, noueuses laissent apparaître les épreuves traversées pour grandir, s’épanouir et appartenir à cette grande société qu’est la forêt.

Découvrir ces dépouilles d’arbres, les (re) connaître, c’est quelque part appréhender la place de l’individu au sein de l’humanité.

Faire le parallèle entre la forêt et l’humanité, c’est répertorier les différences mais aussi les ressemblances, afin d’appréhender la nature, le sens de la mort et de la vie dans toute sa complexité. C’est lui reconnaître également sa magie intrinsèque. Sa beauté.

Son éternité.

croissance et prospérité et sérénité par lui-même, mais c’est lorsqu’il fait partie d’un tout, qu’il impose réellement sa diversité, sa force, sa particularité, sa singularité et son éternité. (C’est un être de contraste, au même titre que l’être humain.)

La forêt est un témoin de diversité et c’est lorsqu’on est immergés en son sein, que l’on prend toute la dimension de l’importance de sa place sur Terre.

C’est la foule qui permet l’individu. C’est la cohésion qui permet la dissolution. L’arbre, comme symbole ultime qui relie la vie à la mort, qui témoigne de l’éternité et, paradoxalement, du passage éphémère de toute vie sur Terre.

Florence Vial flovial.art@gmail.com www.florencevial.com www.instagram.com/flovial.art www.facebook.com/floartwork

L’arbre, tout comme l’être humain, fait partie d’un tout. Oh, bien sûr, il peut vivre indépendamment des autres et connaître

SDG ZINE

56

Voile-Age

57

Between Clouds and Oceans How does the way we perceive water affect our self-identities? What does water teach us about treating one another and the earthly environment? Let’s behold today’s water crisis and injustice around the world through an ancient lens. The first story is about China.

Chinese dragon, combining the bodily features of a fish, a turtle, and a snake, is believed to be the living force that moves bodies of water. Not only is the dragon the symbol of the emperor in imperial China, but also a unique cultural, and spiritual identity of the nation.

Water is the root metaphor in Chinese culture that constructs how the Chinese civilization has perceived nature since ancient times. Being the most present element in daily life, water has always been a prevalent symbol in Chinese philosophy and mythology but is also where the ancient sages find peace and freedom. Moreover, water further manifests its aesthetic value through the creation of Chinese artists and architects, impeccably blending the beauty of the human world into its greater natural surroundings.

The Chinese often use the term “Descendants of the Dragon” to refer to their ethnicity. Wherever there is the presence of water, there lives the dragon, who controls rain, thunder, storms, and flood. The Dragon is both benevolent and powerful, just like the force behind water that can both cause life to flourish and kill.

Seeing with Water The Chinese character for water, shui (⽔), in its diverse font typefaces and variants, depicts an image of a flowing stream. The ancient Chinese are perceptive observers of nature: having a profound appreciation of water’s movement and temperaments while contemplating their relationship in the cosmos.

Water is believed to be the medium through which heaven communicates its judgment to the earth. The invisible force that governs the rise and fall of water between heaven and Earth is embodied in the mythical creature, the Chinese dragon or Long. The

SDG ZINE

Thinking with Water In contrast to the abstract western philosophical ideas, the language of Chinese philosophy is embedded in the natural environment. In ancient China, water is the model for philosophical ideas about the nature of the cosmos. Daoism is a Chinese philosophical tradition formed in the 6th century BC. The core belief of Daoism is that as humans are a part of nature, we will align ourselves with nature’s Dao (the Chinese word signifying the “way”, “principle of being”) by living in harmony with all sentient beings.

Therefore, Dao is also the social manifestation of Water, as Chapter 8 of Daode Jing describes the essence of water and how its virtue manifests in every building block of social life: The highest virtue is like water Water nourishes myriad creatures without con-

tending with them It flows to the low loathsome places Therefore, it comes close to the way.

Live in accordance with the nature of things.

In dwelling, be close to the land.

In meditation, go deep in the heart.

In dealing with others, be gentle and kind.

In speech, be true.

In ruling, be just.

In action, watch the timing No competition, So no blame.

A clear stream of water flows from poem to poem throughout the book of Dao De Jing. Its philosophical significance and social impact are not limited to the cultural context of China but universally constructive to every person’s life just like water itself.

Feeling with Water The word landscape in Chinese, shanshui, is a union of shan (the mountain) and shui (the water). The mountain depicts stillness and the water represents change.

Together, they are intimately entwined in the composition of the transience and continuity in nature.

There is no coincidence that the primary medium of Chinese art is water. The cloud, waterfalls, and rivers are ubiquitous in Chinese paintings, and sometimes water could be the sole subject of the painting.

This is because Chinese art depicts feelings rather than realism. It is often said that the shanshui lives within the painter, as the artist paints, the scenery is poured out as an emotional improvisation. The position of the

58

Be Water – the Ancient Chinese Way Charlotte Qin

59

tree, the composition of the mountain, and the temperament of water can all transmit feelings between the painter and the audience. Interestingly, the human figures that appeared in Chinese paintings are mostly minuscule and anonymous. The implication of such artistic presentation replicates the attitude that the human world is just a tiny fraction of the immense cosmos.

Ancient Chinese architecture has always been a harmonious piece of landscape art. Its aesthetic and engineering value have no predecessors or successors. Hongcun, a village built around the 17th century in mountainous southern Anhui, is a perfect example of the ancient architects working in harmony with nature. Hongcun is manipulated by bionic principles of an ox: the water from the mountain stream winds into the village through the intestine-like irrigation system that passes through every household, and then arrives in the pond, the ‘stomach’ at the center of the village; finally, the stream exits through the ‘belly’, the south lake outside the village. The system provides water for the entire domestic use but also adjusts the temperature of the village throughout the year.

Healing with Water The ancient Chinese had understood that water is the root of all life, thus all things from which beauty and ugliness, virtue and unworthiness, ignorance and brilliance are born of water. Humans, too, are born of water. ‘The solution for the Sage who would transform the world lies in the water.’ said

Guanzhong (720–645 BC), a Chinese philosopher and politician in the Spring and Autumn period, ‘Therefore when water is uncontaminated, men’s hearts are upright.

When water is pure, the people’s hearts are at ease’.

Water is like the mirror that reflects the nature of the people who form their lives around the water. It does not take a brilliant mind to see the link between the dammed, polluted river courses and the wellbeing of the people today. As modern humans, we may feel superior walking on the frontline of evolution. We continue discovering new knowledge and inventing new technologies, but on the inside, we are all lost children, failing to remember our ancestors’ story: we all come from the same cosmic fluid. Being water is to be at peace with where you are in the course of life. Being water is to be fluid in circumstances involving others.

Being water is to heal life from its roots: water.

References •

Book of Water and Earth – Guanzi (7th century BC), Guanzhong

•

Chapter 8 – Daode Jing (4th century BC), Laozi

•

The Way of Water and Sprouts of Virtue (1997),

transform the world lies in the water.’ said Guanzhong (720–645 BC), a Chinese

Sarah Allan

A Wave of Ocean Plastic: The Brazilian Tormenta Upon returning to my hometown, the feeling of being immersed in a postapocalyptic scenario stuns me and drives me to take actions that seek to solve the problems all around me. The amount of plastic residue laying on the sand and many bottle caps and straws around beach tables caught my attention right away. It’s impossible not to remember the fable of the bird extinguishing the forest wildfire one drop of water at a time. In the same way, volunteers from various organisations collect every piece of waste they can. Yet, it seems like it is never enough. As the question continues to pop into our heads, I ask myself, where are we heading in the next few years with all the plastic polluting our oceans?

philosopher and politician in the Spring and Autumn period, ‘Therefore when water is uncontaminated, men’s hearts are upright. When water is pure, the people’s hearts are at ease’.

•

The Water Kingdom: A Secret History of China (2016), Philip Ball

Water is like the mirror that reflects the nature of the people who form their lives

around the water. It does not take a brilliant mind to see the link between the dammed, polluted river courses and the wellbeing of the people today. As modern humans, we may feel superior walking on the frontline of evolution. We continue discovering new knowledge and inventing new technologies, but on the inside, we are all lost children, failing to remember our ancestors’ story: we all come from the same cosmic fluid.

Being water is to be at peace with where you are in the course of life.

Being water is to be fluid in circumstances involving others.

Being water is to heal life from its roots: water.

In recent years, idyllic Brazilian vistas have been suffering from marine litter. It is predominantly plastic waste of all varieties, colours, sizes, and shapes. It is comparable to a tsunami of plastic, which increasingly washes over the Brazilian ground. The

About the Author:

About the Author:

Charlotte Qin is a Chinese-Canadian artist based in Geneva.

Her journey has been meandering like Water, the personal mythology that evoked her curiosity since childhood. She has

Charlotte Qin is a Chinese-Canadian artist based in Geneva.

Her journey has been meandering like Water, the personal mythology that evoked her curiosity since childhood. She has a policy has strengthened her mission to transform our modern bachelor’s degree physics and a double master’s degree in perception and relationship with waterin through art.

Innovation Design Engineering. The opportunity to work with the Water Initiative and learned from the experts in water References policy has strengthened her mission to transform our modern perception relationship with water through art.

Book of Water and Earth – Guanzi (7th century BC),and Guanzhong a bachelor’s degree in physics and a double master’s degree in

Innovation Design Engineering. The opportunity to work with the Water Initiative and learned from the experts in water

Chapter 8 – Daode Jing (4th century BC), Laozi

SDG ZINE

The Way of Water and Sprouts of Virtue (1997), Sarah Allan The Water Kingdom: A Secret History of China (2016), Philip Ball

60

United Nations Environment Assembly (UNEA) recognizes marine plastic pollution as a rapidly increasing, serious issue of global concern that needs an urgent global response.

In 2019, I volunteered for beach clean-up actions at the coast of Bahia. The record at the time in Salvador de Bahia for products found was of plastic bottle caps for soft drinks and alcoholic beverages. The waste-collection volunteers work incessantly throughout Brazil, but they see their efforts reversed by a recent wave of waste again contaminating previously cleaned-up places.

But the waste on the beaches is not only of foreign origin. Brazil is among the largest producers and consumers of plastic worldwide, as the 4th biggest plastic wastegenerating country. Globally, CIEL alerts that out of approximately 275 million metric tons of plastic waste produced annually, up to 12 million tons of it leak into oceans, wreaking havoc on livelihoods and ecosystems.

According to the Instituto Mar Urbano, annually, 325,000 tons of plastic end up in the Atlantic Ocean encircling Brazil. Around 70% of all the plastic found on Brazilian beaches is single-use plastic.

To offer readers a contextualization of the problem globally, Brazil is the fifth largest country in the world in landmass. The Brazilian coast is 7,491 km long, making it the 16th longest national coastline in the world.

Besides that, twenty-six states within the federation have a coastline. This fragmentation over a large territory makes the problem even more complex to legislate, requiring surgical cooperation between federal, state, and municipal laws.

We expect that there will be more plastic than fish in the oceans in less than three decades. How long does humankind intend

to justify the unjustifiable and not push for stricter agreements to solve this problem in the long run?

Marine plastic pollution transforms an ancient fishing tradition into an activity that is highly harmful to the local community.

The incomprehensible is how a country that receives a 500% increase in tourism during the summer in the coastal region does not adopt a clear policy to combat plastic. The local and indigenous population, which often depends directly on the natural resources taken from the oceans, suffers more severely from the consequences of ingesting microplastics.

Some states in the federation passed laws banning bags, straws, and plastic cups until July 2019. Brazil has had a National Law on the National Solid Waste Policy in force for over ten years. Also in March 2019, the Ministry of the Environment launched the National Plan to Combat Garbage at Sea (PNCLM). Both laws ended up being ineffective at raising recycling rates and did not prevent this waste from reaching the beaches. It is necessary to highlight some alarming data at this point. According to the Brazilian Institute of Public Opinion and Statistics (IBOPE) data from 2018, 75% of Brazilians do not separate recyclable materials. Of these, 39% do not separate organic waste from the rest. The research also stresses that 77% of Brazilians know that plastic is recyclable.

Nevertheless, the great majority of the population still don’t engage actively in household recycling.

prevent it from being dumped in the deepsea?

There is a prominent international movement underway for an international treaty on plastics. UNEA has, over the past few years, passed resolutions despite the importance of having a binding agreement upon States in combating pollution by plastics in the oceans. The dilemma between hard law and soft law stresses the crucial role of international law. I would like to think that a solution to the crisis comes from multiple institution’s intersecting efforts.

Advocating for a legally binding agreement calls for an international responsibility upon states towards the obligations agreed.

Yet let us all remind ourselves that coerciveness per se will not be the sole contributor to solving the problem. We as citizens are as much responsible for ocean plastic as the states are for committing themselves to international agreements.

Advocating for a legally binding agreement calls for an international responsibility upon states towards the obligations agreed. Yet let us all remind ourselves that coerciveness per se will not be the sole contributor to solving the problem. We as citizens are as much responsible for ocean plastic as the states are for committing themselves to international agreements.

About the Author Laisa Branco de Almeida is a Master’s Student in International Law at the Graduate Institute in Geneva from Brazil. Her field of expertise is the Law of the Sea and the Environmental Law. Her love for the oceans relates to where she comes from, Salvador de Bahia. Growing up by the sea and sharing her mother's love for open water swimming made her not only passionate about water but decided to

Some of us make efforts to avoid specific plastic items. But the problem cannot be solved by individual and localized actions only. How can we stop waves of waste from other States from moving across borders?

Move to other countries, and who knows, pollute beaches and coasts? How can we

devote her professional life to it as well. She said that the About the Author waves have challenged her to be a better human being.

Laisa Branco de Almeida is a Master’s Student in International Law at the Graduate Institute in Geneva from Brazil.

Her field of expertise is the Law of the Sea and the Environmental Law. Her love for the oceans relates to where she comes from, Salvador de Bahia. Growing up by the sea and sharing her mother’s love for open water swimming made her not only passionate about water but decided to devote her professional life to it as well. She said that the waves have challenged her to be a better human being.

61

definition A FAB LAB (FABRICATION LABORATORY) IS A SMALLSCALE WORKSHOP OFFERING (PERSONAL) DIGITAL FABRICATION A Fab Lab is typically equipped with an array of flexible computercontrolled tools that cover several different length scales and various materials, with the aim to make “almost anything”. This includes technology-enabled products generally perceived as limited to mass production.

While Fab Labs have yet to compete with mass production and its associated economies of scale in fabricating widely distributed products, they have already shown the potential to empower individuals to create smart devices for themselves. These devices can be tailored to local or personal needs in ways that are not practical or economical using mass production.

The Fab Lab movement is closely aligned with the DIY movement, open-source hardware, maker culture, and the free and opensource movement, and shares philosophy as well as technology with them. (source:Wikipedia)

SDG ZINE

62

SDGs & FABLABS > Sustainable innovation in fashion & technology - Onl’fait > Microsquad technology: CERN Project on the Internet of Things

63

CREATIVE HUB/ Onl’fait

www.onlfait.ch Geneva

Sustainable innovation in fashion & technology The fashion and textile industry produces worldwide a huge amount of waste. 80 billion pieces of clothing are produced each year in the world where it is estimated that 10-20% of the textiles are wasted.

Additionally, the clothing industry contributes around 10% of global greenhouse gas emissions and produces around 20% of wastewater in the world.

Therefore, we have a responsibility to find new ways of producing clothing and textiles. As it often happens, solution is through innovation. By finding new designs, techniques, materials, functionalities and at the same time new aesthetics. This is where Onl’fait is helping and giving the opportunity with new knowledge to the new generation of fashion with the Fashion & Technologies week.

Onl’fait is the Swiss node of Fabricademy – a 6-month transdisciplinary course that focuses on the development of new technologies in the textile industry. The course covers a broad range of textile applications from fashion to the upcoming trend of wearable technology.

Currently, the global textile and clothing industry is exploring and experimenting with more viable, sustainable, and fair production systems. Fabricademy’s programme highlights the unethical and environmentally unfriendly practices of the current industry and strives to combine traditional knowledge and future craftsmanship to work towards new ways of designing, prototyping and producing for the newly emerging fashion and textile industry.

In Geneva, in April, Onl’fait and la HEAD (Genève, Haute école d’art et de design) collaborated with 2nd year fashion students in their Fashion and New Technologies

SDG ZINE

week. The objective set week is to introduce participants to digital modeling and manufacturing techniques focused on sustainable textiles. During a week, students learned the theoretical bases of the chosen technique and developed prototypes to be presented on the last day of the course. Onl’fait was responsible for planning, teaching, and assisting students with their projects.

The three activities were: Modular fashion: Manufacturing a bag by creating and drawing tiles to assemble without sewing Students used felt, and leather and laser cut.

E-textiles: Manufacturing a drawstring bag with integrated electronic components: light and distance sensors, a Gemma microcontrollermicrocontroller and LEDs. Students also used 3D printers to add extra components to the bags.

Leather moulding: Manufacturing of a moulded leather pouch. Participants used a parametric modelling software (Grasshopper) to draw a shape to be made with the CNC. The shape will then be moulded in leather.

Students were also asked to share their thoughts on questions, topics, and issues of the fashion industry today, such as gender and sewing.

64

Indeed, the week was also part of the shemakes program. The goal of shemakes is to empower future female innovators of the sustainable fashion industry through inspiration, skills, and networks.

ABOUT FAB LAB ONLFAIT

ABOUT SHEMAKES

Onl’Fait is an open space with an all-around digital craftsmanship, which provides its community with technical, technological, and human resources. The aim is to offer a varied community of professionals and enthusiasts the tools to repair, develop, design a prototype or even a product. The Fab Lab Onl’fFait is also an intergenerational and multicultural meeting place to reflect on an ecological, citizen and sustainable approach to technology and consumption. A Fab Lab is a global sharing network where members are in turn beneficiaries and contributors, with experiences being pooled to optimise global innovation.

Shemakes is a two-year initiative with a consortium of 10 partners in 7 countries, which acts to promote, highlight, and celebrate the leading role of women in innovation, with the aim of reforming the structures of opportunity in the countries involved.

https://www.onlfait.ch/ https://textile-academy.org/

https://shemakes.eu/en

© pic left: Sabine Schechinger / pic right: Michelle Castillo

65

CREATIVE HUB/ PARTNER

CERN

Microsquad technology: CERN Project on the Internet of Things presenting a new coopetition game ‘The detector is You’ Brice Copy, Lucas Van Mol and Elisabeth Blazianu are the authors of a platform to create collaborative educational games mixing physical and virtual worlds.

gateway. Our authors called their gateway “Microsquad”, and use it to connect participants’ input directly to a web page and three-dimensional graphical visualizations.

Games greatly facilitate a learning process and coopetition (an ingenious combination of cooperation and competition) stimulates emulation amongst learners.

Based on the Microsquad technology, the team issued their first collaborative activity entitled “The detector is YOU”, which initiates an audience to the wonderful world of quantum physics and the elementary particles that compose our universe.

Participants are each assigned an on-screen avatar and handed a radio terminal to take part in team activities. Activities can feature votes, rapidity challenges, identification challenges or let their owner express sentiments about the presented contents.

On the technical side, the radio terminal is a low-cost educational programmable controller, supported by the BBC and Lancaster University called a Micro:bit. Thanks to sensors present on board (namely two buttons, an accelerometer and a thermometer), both interactive and environmental data can be captured and collected on a computer or mobile phone. On its small integrated 5x5 pixels screen, the Micro:bit can also present simple icons, or small amounts of scrolling text.

The Micro:bit is not a computer per-say, but it can exchange information with an Internet-connected computer program, a

Directly inspired by the scientific teams operating the Large Hadron Collider (the 27-kilometer-long particle accelerator exploited

by CERN) and its particle detectors, each participant plays the role of a physicist and is entrusted with a Micro:bit that will act as a make-believe particle sensor : A “virtual” particle is launched, the Micro:bits’ integrated screens present a reading that must be interpreted : combining the readings of multiple sensors is necessary to determine with certainty which type of “virtual” particle just crossed their collective particle detector.

Once familiar with the process of particle detection, the audience can be split into competing sub-groups and must reproduce their readings with increasing swiftness to score and win the challenge.

MicroSquad is an open-source gateway that connects Microbits to the “Internet of Things” (via the standard MQTT protocol) via their on-board radio module.

Actions and data requests can be sent to individual Microbits or groups of Microbits to support interactive group activities, such as group decision processes (vote), sentiment collection (likes, applause, happy / unhappy) or interactive team games (using buttons or the on-board compass or accelerometer for control)

Microsquad is an open-source platform, reusable freely to implement new activities and in the future, support the creation of interactive coopetitive educational contents.

You can follow this project on Addictlab.com.

Register, profile yourself and ask to join the project.

Brice Copy brice.copy@cern.ch CERN Micro Club robotics and outreach manager

SDG ZINE

66

#290 MicroSquad - Connecting Microbit to the Web The BBC Microbit is a great educational tool, simple to learn and use, but limited by design in resources. Connecting Microbits to web pages can prove complicated.

Project responsible Cern : Brice Copy Interns: Elisabeth Blazianu Lucas Van Mol

67

definition INTERNATIONAL GENEVA Every day, key decisions that save or improve people’s lives are taken in Geneva. These are often not reported in the international media’s headlines but they make a crucial difference for their beneficiaries nonetheless.

Geneva is the place where humanitarian relief for victims of floods, earthquakes or conflicts is coordinated; where responses to environmental challenges are devised; where the fight against deadly diseases is coordinated. It offers victims of abuse, torture and violence forums to be heard and seek redress. Governments come here to negotiate key agreements in the fields of trade, disarmament and conflicts. Regulatory frameworks for telecommunications and the protection of innovations are developed and implemented in this major cooperation platform.

In 1919, the city gained strength and momentum as a platform for dialogue and cooperation when the victorious states of World War I decided to establish the League of Nations and the International Labour Organization (ILO) there.

After World War II, the international community chose Geneva again to host key international organizations.

Today, key actors in the health sector, like the Global Fund to Fight AIDS, Tuberculosis and Malaria have all set up headquarters there.

Read more here. https://www.geneve-int.ch/

No other city has a richer history of international cooperation than Geneva.

In 1863, a small group of Genevois created the International Committee of the Red Cross (ICRC) which led to the first international humanitarian treaty, the Geneva Convention of 1864.

SDG ZINE

68

SDGs & International Geneva > Adaptation at Altitude Mountain Eco Systems

>3D prosthesis printing Accessible innovation by Handicap International

69

Mountain Ecosystems Presenting the work of Adaptation at Altitude

SDG ZINE

70

71

Mountain Ecosystems Presenting the work of Adaptation at Altitude

At first glance, mountains may seem like just another ecosystem that is nice to admire and visit. But what many people do not realize is that mountains aren’t just important because they’re a part of nature; they have major impacts on the entire world, no matter the elevation.

For example, although we sometimes take water for granted, it’s important to remember where much of our freshwater supply comes from: that’s right, mountains.

Mountains are responsible for providing half of the global population with freshwater for drinking and agriculture, and renewable energy for many more because they supply the lakes and rivers we rely on. Climate change can bring disrupted weather patterns and water flows, meaning that those of us who live downstream might start to wonder why we don’t have as much water as usual. In areas with water insecurity, these changes could be deadly.

Mountains are also where a large number of natural hazards occur – and the impacts aren’t limited to elevated areas. In fact, between 2005 and 2014, 70% of disaster-related deaths occurred in mountain communities. Whether it be earthquakes, avalanches, or floods, the disasters that

happen in mountain areas have a tendency to be highly dangerous and effects that spill over downhill.

Looking at the SDGs, addressing many of the global development challenges will be absolutely impossible without adequately incorporating mountains. These communities tend to be the poorest, worst-connected to basic services, and extremely vulnerable to risks, including climate change. Temperatures will rise much quicker at higher elevations, disrupting access to water and agriculture, which many rely on to survive.

Without a proper plan in place to address climate change impacts, many communities will be left without a viable way to survive.

Switzerland has engaged with mountain development and communities for a long time, its commitment going back to the Rio Conference in 1992. The Swiss Agency for Development and Cooperation’s Adaptation at Altitude programme works to ensure that mountain communities increase their resilience to climate change.

Adaptation at Altitude is trying to close this gap by creating an online portal of solutions to showcase some of the tried and true projects for addressing climate change adaptation in mountains.

The database has taken solutions from all over the world and gives the opportunity for practitioners to read about potential options. Through this portal, it will give the chance for exchange and hopefully lead to greater innovation for mountains to improve their resilience.

You can learn more about Adaptation at Altitude and the Solutions Portal by going to our website: adaptationataltitude.org Here you’ll find resources about mountains and climate change, see what partner organizations are doing, and learn how to keep mountains in mind as we work toward achieving the SDGs.

By Alexandra Mackey, Otto Simonett, and Nina Saalismaa

SDG ZINE

72

previous page: A group of Wakhi women comes back from their daily excursion across the Hunza riverbed to gather fodder and wood for their cooking fires. ©Matthieu Paley

73

SDG ZINE

74

75

3D prosthesis printing

Accessible innovation by Handicap International

In many low and middle-income countries, only 5% to 15% of people who require assistive devices, including artificial limbs or braces, have access to them. In areas that are remote or dangerous, specialized health professionals can be scarce and materials expensive. If poorly made or unadjusted, artificial limbs and braces can make life uncomfortable for patients by causing skin sores, pressure wounds, and muscle fatigue.

As a solution, Humanity & Inclusion (known as “Handicap International” in French) launched a 3D printing technology trial.

Since 2016, four scientific studies were conducted on telerehabilitation and 3D prosthesis printing. The organization worked with leading universities, private companies, and NGOs. The research was based on clinical trials and pilot projects in six different countries including Togo and Uganda, to rapidly produce affordable, high-quality prostheses in a range of contexts.

Founded almost four decades ago, Humanity & Inclusion has been at the forefront of many of the innovations and initiatives that have revolutionized humanitarian assistance. Indeed, by producing at first bamboo, leather, wood or tire prostheses, as well as wooden wheelchairs, Humanity & Inclusion was the first humanitarian organization to develop simple and cost-effective orthopedic devices adapted to the local context.

Forty years on, Humanity & Inclusion is the first organization in the world to combine telerehabilitation and the production of 3D

prostheses. The organization explores innovative solutions adapted to humanitarian needs and believes innovation should be as widely accessible and beneficial as possible.

Today, teams are working with people who had amputations and use a small, lightweight, 3D scanner to create a digital mold of the amputated limb. The mold can then be adapted according to the patients’ needs using computer-modelling software.

Finally, it is sent to a 3D printer that creates thousands of layers of thermoplastic to produce a bespoke socket. The final product corresponds perfectly to the shape of the patient’s amputated limb.

3D Technology: In Brief • • •

•

The 3D file obtained is sent to a specific printer, which solidifies the material layer by layer, to obtain the final device.

Digital modeling software is used to modify and adapt the device to be printed according to the patient’s needs.

A lightweight and easy-to-use scanner makes it simple to take accurate measurements of the limb(s) requiring an orthopaedic device.

A CAD/CAM (Computer Aided Manufacturing Design) file is then created.

Prize for Affordable High-Tech for Humanitarian Aid. The prize money allows the organization to establish a new fund to help fuel future advances.

Manuel Patrouillard, Global Managing Director explains : “The Tele Rehabilitation For All project and the use of 3D technology reflects something that’s in Humanity & Inclusion’s DNA: a desire to improve the quality and impact of our response using accessible technologies. Innovation is not just for specialists. It should be widely accessible. We are committed to that goal.”

For more information about the subject and on Humanity & Inclusion, we suggest you to read the testimonies on our website (in French or German): https://handicap-international.ch/fr/index

The European Union Horizon Prize 2020 has honored Humanity & Inclusion with two of the five prizes of the inaugural EU Horizon Pauline Wilhelm, communication officer, Humanity & Inclusion Switzerland Photo: © X. Olleros / HI

SDG ZINE

76

77

definition ABOUT THE SDG SOLUTION SPACE The Geneva SDG Solution Space was created by the University of Geneva for the Geneva Tsinghua Initiative, a comprehensive, hands-on education programme for training young innovators to tackle the UN Sustainable Development Goals (SDGs).

Students, researchers, experts from UN agencies and NGOs, as well as citizens from all walks of life, gather together in this open innovation space to collaboratively develop concrete solutions for practical SDG challenges, during hackathons, workshops, summer schools and networking events.

high-tech startups, NGOs and foundations.

The Solution Space contains an SDG FabLab, with a range of digital fabrication technologies (3D printers, laser cutters) as well as other tools for quick prototyping of frugal innovations. Combined with 300m2 of shared openplan office space in the same building, the SDG Solution Space hosts a burgeoning SDG ecosystem of SDG innovators.

In 2019, a sister SDG Solution Space was established at iCenter, part of Tsinghua University, China’s top academic institution. www.sdgsolutionspace.org

The 330 m2 facility, opened its doors in 2017 on the occasion of the first Open Geneva Festival of Innovation, helping to introduce a new spirit of open innovation in the heart of International Geneva. The Solution Space is located at Campus Biotech Innovation Park in Sécheron, part of a joint campus that University of Geneva shares with the EPFL and a range of

SDG ZINE

78

Recent Activities in the SDG Solution Space > SDG Summer School 2021

Looking for Open Source Health Solutions

79

G E N E VA TSINGHUA INITIATIVE

CREATIVE HUB/ Geneva Tsinghua Initiative FACILITATOR www.gt-initiative.org Switzerland

for the Sustainable Development Goals

Looking for Open Source Health Solutions The SDG Summer School 2021

PARIS

Special School Edition SDGzine in preparation

2

G E N E VA TSINGHUA INITIATIVE

for the Sustainable Development Goals

SPECIAL SCHOOL EDITION

SE5

JULY 2021

G E N E VA TSINGHUA INITIATIVE

for the Sustainable Development Goals Collaborative publication on the sustainable development goals - WWW.SDGZINE.ORG

Open Source Health Solutions The SDG Summer School 2021

CHILE 6

G E N E VA TSINGHUA INITIATIVE

for the Sustainable Development Goals

SDG ZINE

80

GENEVA 1

SEOUL

G E N E VA TSINGHUA INITIATIVE

3

for the Sustainable Development Goals

G E N E VA TSINGHUA INITIATIVE

for the Sustainable Development Goals

SHENZHEN 4

G E N E VA TSINGHUA INITIATIVE

for the Sustainable Development Goals

SINGAPORE 5

G E N E VA TSINGHUA INITIATIVE

for the Sustainable Development Goals

81

CREATIVE HUB/ Geneva Tsinghua Initiative FACILITATOR www.gt-initiative.org Switzerland

G E N E VA TSINGHUA INITIATIVE

for the Sustainable Development Goals

IHDS course Social and Environmental Dilemmas in Capitalism, taught

by Peter Larsen.

Class Title: Social and Environmental Dilemmas in Capitalism Decision-makers today face a truly daunting set of social, economic and environmental challenges prompting a rethink of political and economic systems not least in relation to contemporary capitalism. This class studies the different manifestations, practices and effects of contemporary capitalism in terms of its social and environmental dimensions.

ification, and propose potential solutions in the local context of their choice.

SPECIAL SCHOOL EDITION

SDG ZINE

JUNE 2020

your own SDGzine.

Contact us for challenges

Drawing upon theoretical insights from political economy, sociology and anthropology, the students will brings into play concepts such as accumulation, dispossession, value and neoliberalism to explore how social and environmental dimensions are being affected and renegotiated including through new forms of regulatory mechanisms and practices. In their projects, they will critically analyze one specific challenge, from the flexibilization and precarity of labour, environmental degradation to nature commod-

#1/

your logo INTERNATIONAL SCHOOL OF GENEVA SWITZERLAND

schools & organisations: run your SDG project and create your own SDGzine.

Contact us for SDG challenges, lectures and workshops for your organization or school & let’s create your own SDGzine together. info@sdgzine.org

82

CREATIVE HUB/ Geneva Tsinghua Initiative FACILITATOR www.gt-initiative.org Switzerland

A unique location in Geneva

ct proje each

nt & outr eSDvGzeine research

ir epa c:R ? i r b Fa aste or Wrkshopr 12 Wo embe , Geneva Nov ion Space t Solu 7.00h SDG 0h - 1 14.0 ps lks sho • ta ea walln work • id ands o .com b. tla • h free .addic : ww ance a w Entr ster vi Regi

by DEMY arch rese BRICA ern patt ney ©FA ed : ur pictur arie D -M Jean

rd a ha r ing u Tak k at yo loo hes clot erlife”. “aft

event

SDGzine

The SDG Solution Space is an open, creative space, created by the University of Geneva and the Geneva-Tsinghua Initiative. Students, researchers, humanitarian workers and UN experts gather together in the space to bring concrete solutions to sustainable development challenges. The work of the Solution Space is based on the 17 Sustainable Development Goals (SDGs), established by the United Nations in 2015.

The 300 m2 facility opened its doors in 2017 on the occasion of the third Open Geneva Hackathon, which innovates

in the heart of the city. The Solution Space is located at Campus Biotech Innovation Park in Secheron, the center of international Geneva.

The users of the Space benefit from the digital technology (such as 3D printers and laser cutter machines) offered by the FabLab, to help them develop prototypes, validate projects and to overall test the feasibility of innovative ideas.

research & outreach project

Cloud to C lassroom Chang

ing Planet Workshop

Saturday Decembe SDG Solut r 11 20 9.00h - 12 ion Space, Gene 21 .00h / 13 va .00h - 16 .00h A Bird’s Learn hoEye View of a Ch w anging Pla to displa to design intera net y an cti d ve analyze Earth’s sur changes applications face. on Entrance : free / don Register via ations we lco www.even tbrite.comme • TALKS & FACILIT ATION • Liza Gold berg, Res earc • Ellen Wal ker, Founde her at NASA • Jan Van r RightsTe Mol, Fou ch Wom nder Add en • ictlab.co m & pub • ACTIVIT lisher SDG IES zine • - Interacti ve explora • - Satellite tion with Google Eart imagery program • - Discove h Engine ming acti ry vities • - Collecti of climate data scie ve intellige nce • - Google nce SDG Idea Wal Earth VR l visits

From January 2022 on, Addictlab will start renting and managing the Fab Lab space to ensure even more activities and courses can be developed.

83

SDGzine Research

RESEARCH SDGzine ‘s ambition is not only to document best practices and create a growing ecosystem of people and organisations that are taking on the challenge aiming for sustainable change.

The SDGzine also wants to initiate. Here is a first research project that was taken on

by Chaewoon Hwang at the University of Geneva, in collaboration with Addictlab and the SDGzine. student : Chaewoon Hwang Master IHDS (Innovation Human Development Sustainability) August - September 2021 Collective Innovation for Waste Management The Case of Textile Upcycling Professor: Raphaël Languillon Jury & Internship resp: Jan Van Mol University Of Geneva

SDG ZINE

Collective Innovation for Waste Management

84

Research project : The Case of Textile Upcycling 1. Issue Identification What happens to my clothes? People have been recycling their apparel or footwear by putting it into clothing bins, containers for recycling or donation managing by charity organizations.

However, the products do not end their lives just through recycling, as mass production in the fast fashion industry with exponentially increasing consumption of new clothes always outstrips the amount of collection.

Fast fashion indicates a modern business model that allows customers to purchase the latest design quickly. This industry takes high-volume production with lower quality but at lower prices to shift swiftly and provide the next trend following rapid changes in fashion tendency.

Due to this uncontrollable textile production and consumption, fast fashion has been one of the most dominant industries that influence pollution and raise fabric waste in society.

The BBC Future (2020) reported that the mass production and non-renewable resources from the current fashion system lay a burden on the environment. The BBC’s statistics point out that textile production is responsible for 1.2 billion tons of greenhouse gases per year. Furthermore, around 92 million tons of textile waste is created every year, and a comparable amount of clothes finishes up on landfill places each

second. About 56 million tons of clothing consumed in a year worldwide also proves the low public recognition of environmental issues from the fashion sector. As less than 1% of used clothing was recycled into new garments globally, the gravity of fabric waste has been a crucial issue; the city has to improve its waste management and encourage the people to solve the problem cooperatively With a higher recycling rate (52% in 2018) than average (32% in 2018), Switzerland has contributed to recycling textiles by providing helpful information on sorting, types of recyclable waste, and collection points for the citizens. Along with several charity institutions, including Caritas and Red Cross, the country has established containers in each city district and managed household waste efficiently. Nevertheless, rising consumption and an unmanageable number of textile waste are still a thorny issue. As not all the sorted textile can be recycled, there are still numerous unrepairable and unsellable used clothes.

Caritas in Geneva also visited Addictlab to share the concerns about their unfixable secondhand clothes and shoes. They usually collect 100 tons of textile waste per year through recycling containers. Although they can repair and resell about 60tons of it, there is no effective and sustainable way to deal with the remained 40 tons.

In response to the linear impact of fast fashion—take, make, and dispose—the concept of circular fashion emerged to re-use the recycled and all remains as a new product or renewable materials for another product.

The new movement, called slow fashion, also appeared against fast fashion. Using environmental-friendly materials or upcycling textiles, slow fashion is becoming a pioneer in producing innovation for sustainability and preventing any environmental risks in the fashion industry.

This idea has gained people’s attention; however, related support, campaigns, or projects are still required to raise awareness of the hidden side of the fast fashion industry and the importance of public interest and efforts on circular and slow fashion for their sustainable community.

2. Objective This research project aims to provide a foothold for brainstorming sessions in 2021 and uncover feasible and efficient solutions to address discovered issue above.

Through SDGzine, it will also share results and raise awareness of staked textile waste problems with verified innovations. Inspired

by Caritas, it mainly explores innovative ways to handle non-resellable clothes and shoes in Geneva, Switzerland; therefore, the project designs research at the local level.

This paper categorizes possible ideas with lesser-known initiatives or motivated by the

85

innovation of different fields. With some clothes and shoes from Caritas, the following brainstorming will conduct experiments by categories as groups including various stakeholders: Addictlab itself, FabLab, and other creators who want to participate. The research project will be a catalog of benchmarks and a starting point to investigate the benefits and limitations of textile upcycling from small-scale attempts and exercises.

utilizing several software programs.

Experiment

3. Input of Research

Based on success and failures from experiments, each group builds a new database on shared documents online. Addictlab researchers manage the database on Miro first and Addictlab website later. Through intergroup meetings, the lab members give feedback to each other and analyze the cause of failures for the next test.

The planned duration of the research project is three months, starting from July to September 2021. It is divided into five sections: Establishment of Fabric Lab, Brainstorming, Experiment, Review, and Development (see Figure 1).

The main objectives of the experiment are visualizing collected ideas and creating physical examples. During this section, all the Fabric Lab groups attempt trials using machines at SDG Solution Space.

Review

Development Establishment of Fabric Lab Before initiating the research, Addictlab sets up Fabric Lab at SDG Solution Space and collects innovators to begin brainstorming sessions. Organizing optimal schedules of Addictlab members and confirmed contributors, four Addictlab researchers temporarily divide participants into groups (4-5 people): the number of participants decides the group number. Then, the Addictlab researchers assign a lab manager per group to guide each group efficiently. Most lab managers are from Addictlab, and they are responsible for arranging meetings with group members and leading discussions for brainstorm sessions. According to the number of groups, participants can also apply for a lab manager. In this case, the successful candidates should register Addcitlab website to report and communicate during the whole research period.

With re-devised ideas from the review session, each group refines experiments to confirm if their ideas are feasible and reasonable to implement sustainably in practical life. If other groups also approve the results, lab managers upload the verified designs on the Addictlab website to promote them to other Addict members and for further projects and SDGzine.

Figure 1. Process and Input of Research

Brainstorming Addictlab researchers select and finalize groups after several briefings and discussions. These confirmed members are from various disciplines, and become a new Addictlab network with responsibility for textile upcycling research. Afterward, two brainstorming sessions are conducted. The meetings for brainstorming will be held on Zoom or at SDG Solution Space according to COVID-19 situation. Throughout the brainstorming sessions, each group decides a specific topic and issue they want to explore and solve. Addictlab database and Benchmarks (Section 5) are offered to support brainstorming. Each brainstorming is recorded and developed to draw visions and possible ideas to reuse textile waste by

SDG ZINE

4. Tools Lab managers and members engage in meeting and record the progress using the following tools: • When2meet: a platform helps to find the best schedule for a group • Zoom: a platform for online conferences. Host and participants can download video, audio, and chats to their computer or cloud.

• Miro: online whiteboard tool to organize and create a mind map with ideas that come up during meetings • Postcards and whiteboard: tools to organize ideas on-site

• Trello: online project management software to divide tasks for each group member and plan experiments • Addictlab (www.addictlab.com): website to share experiment results and communicate with other groups or members of Addictlab. Uploaded initiatives can be developed for further projects or displays by building a network online or on-site.

• Sustainable Development Goals Impact Kit: 20-centimeter on 20-centimeter panels with seventeen SDGs in both English and French. These will be used for brainstorming and topic selection.

• Creative Chemistry Card Kit: three unique decks of cards for brainstorming, ideation, and profiling. The kit includes a number of fields to connect different areas and discover innovative ideas that might be overlooked or excluded.

5. Possible Ideas This chapter provides benchmarks for possible research ideas to help research participants initiate brainstorming. Under the assumption that the research starts with a limited budget and space, it mainly suggests experiments with a few machines. As Addictlab indeed prepares shredder and two places, FabLab and the SDG Solution Space, this project makes the best use of shredded fabric or the given space for solutions. The brainstorming sessions will be open to all the possibilities. Following ideas can be adjusted or replaced with new suggestions from lab members.

5.1 Idea 1: Textile for Product The most feasible and accessible way is creating a new product with shredded textile. Patchwork quilting is already famous worldwide; however, people usually buy new materials and make them by hands to design and sew, connecting different fabric patterns. Inspired by this long-lasting hobby, this project suggests researching how successfully compress shredded textile to design products in various ways and how to do that quickly and safely for non-experts.

There are several examples to refer to further experiments.

Figure 2. Examples of fabric cases from shredded textile waste (Source: Protect the Planet website )

86

Nonetheless, they might be unsolid to stand heavy or sharp objects. It could also be vulnerable on raining or snowing days.

As accessories, such as scarves or electric equipment, have to be soft to wear or use, those items should be created with minimal glue that makes the products too hard.

Furthermore, the piles of shredded fabric usually tinged with only a greyish color. In order to attract more consumers, it is crucial to explore techniques to discover proper sizes to shred to maintain the beautiful colors of each clothes and freely design with various colors.

initiative, the research examines how to bring a similar quality of products with general commercialized glues minimizing environmental or health impacts and how people can build a brick or box in their houses.

Figure 4. Pictures of FabBRICK projects (Source: FabBRICK website )

The other idea is a shoe planter inspired

by Shelterness, which is a blog about DIY objects. It recommends using a pair of high heels or sneakers as a planter for small plants. In particular, those planters will offer better conditions for unconventional plantings, such as succulent plants that are long-lasting with low maintenance, by ensuing decorative aspects than usual planters.

Figure 6. Example of a shoe planter (Source: Shelterness website )

The second initiative attempts to cut textiles instead of shredding them. Using several methods, such as glue, twisted, or tied procedures, it aims to design accessories in different ways from the first one. Such final products (see Figure 2) have been frequently seen at markets, but there are only a few cases reutilized recycled textile for production.

Figure 3. Examples of products with cut textile (Source: Love to Sew website ) These ideas require many fabric piles to produce such items. Although the size of products is devised depends on what consumers want, it is evident that these projects would be the most common way to consume and reuse numerous amounts of recycled clothes or shoes before they are buried in landfills.

The shredded textile can also be adapted to generate interior items like chairs, cushions, or carpets. The project particularly recommends using shredded fabrics instead of cotton to fill in mentioned objects above.

Furthermore, it can build small-sized architecture or furniture with shredded ones. This idea is mainly inspired by FabBRICK, which is a French company contributing to decorative development with old clothes. FabBRICK created a brick using around two to three shredded T-shirts.

Those scraps are pressed into a brick mold without any human intervention by pasting fabric pieces with ecologically friendly glue invented by the company. The fabric bricks are used for interior design, furniture, and collaborative items. Referring to this

Especially, recycled shoes can be used for stepping stones at the park or backyards. By planting shoes upside down, it can introduce a route from one place to another. Children particularly will love to follow this short walkway at the park.

Figure 7. Picture of homemade stepping stones (Source: Outdoor Mama Blog )

5.1 Idea 2: Textile for Garden Without shredding textile waste, recycled clothes and shoes can be reutilized for a garden. Sparked by fabric flowers and planters, the project proposes investigating how to reuse old stuff itself again.

There are already many videos to teach how to make mixed fabric flowers in five minutes. Even though it cannot cause positive impacts on the environment, it also does not negatively influence either. Instead, the fabric garden more aims to establish permanent gardens for the enjoyment of the community.

Figure 5. Example of fabric flower (Source: pinterest) These designs could not be sustainable and leave another environmental pollution like soil contamination. However, using daily objects to decorate outdoor areas will appeal to residents and encourage them to build their gardens or parks and design upcycling for the public spaces.

Abandoned shoes can be used not only for

87

humans but also for animals. As one of the simplest ways, the recycled shoes can be a nest for small animals like birds. Alternatively, the shoes can be meal places for them to visit and have little snacks from people. This would bring more animals to build an active park in the community.

Figure 8. Picture of shoe nest (Source: diys website )

build a local maker community to produce such items and distribute them to markets or coffee shops. Ideally, this research hopes to include municipal assistance to inspire local shops to offer fabric products instead of disposable ones. If it is possible to provide carving services like the name’s initials, consumers will be more encouraged to reuse them rather than receive new ones.

Figure 9. Examples of fabric coffee sleeves (Source: All Free Sewing website )

Join the research Are you interested in this project? Get in contact with the Addictlab team. Go to www. addictlab.com, register and join the project.

6. Deliverables and Target Impacts

5.2 Idea 3: Upcycling Café The project is affected by Repair Café , an open and accessible place to supply repair services. All the community is allowed to gather and fix anything, including clothes, furniture, electronic equipment, and toys.

Professionals or students also volunteer to help people repair their items. Following the concept of Repair Café, this section suggests managing FabLab and SDG Solution Space as Upcycling Café. As there are many machines to use at FabLab, visitors can recreate their old clothes or shoes under the direction of managers or volunteers. This open space will provide activities or workshops to teach upcycling skills and raise awareness that people can repair things themselves without just throwing them away. The research targets how to promote this place and design several activities to teach users.

5.3 Idea 4: Textile for Business The last research proposal is to utilize recycled textile waste for retail markets. Other products suggested above are more suitable for local stores or households; on the other hand, this project focused on items that cities can support and encourage to be used for the public interest. For instance, the research can be conducted to create fabric coffee sleeves, mug rug, beverage holder, and shopping bags. During brainstorming and development sessions, creators can

SDG ZINE

Along with the estimated budget and human resources as inputs, the project bears two main deliverables – SDGzine and educational activity. The SDGzine will be designed and published by Addictlab. Each group will create one or two magazine pages under the direction of lab managers. This magazine will showcase several projects to deliver ideas of textile upcycling toward press, schools, and partners. The number of recipients will increase through crowdfunding or display at approved areas, including SDG Solution Space. Additionally, the magazine will work as communication to advertise ideas and contacts to potential investors. As one of the further steps, educational activities will be outlined according to verified projects.

By dividing categories based on appropriate age groups, Addictlab builds programs with collaborators willing to go forward together.

The project aims to build a social practice for upcycling with broader networks through the deliverables mentioned above.

Readers reflect on written projects in SDGzine by reusing their clothes and shoes, and participants of educational workshops also actively engage in upcycling practices spreading the ideas. Finally, increasing upcycling movement will reduce waste materials and recover energy by circular production in the end.

Chaewoon Hwang

88

Geneva: City of Responsible Fashion How is the sustainable fashion scene like in Geneva? Are there many options for responsible fashion consumption in the city?

Which initiatives exist?

Funded by the G’Innove program, Geneva: City of Responsible Fashion aims to explore and map alternatives to fast fashion in Geneva, identify key challenges in the current state of affairs and propose solutions that could help strengthen and grow the ecosystem of partners that are involved in offering more responsible and sustainable options to consumers. This two-year action research project started in May 2020 and is led by Dr. Katia Vladimirova at the University of Geneva.

Fashion shopping is usually viewed by consumers as a fun activity, often to do with friends and family, but few are aware that fashion and textiles consumption is the fourth most carbon intensive lifestyle domain in Europe, after food, transport, and housing. Production and consumption of fashion has more than doubled since 2000, due to the growth of fast fashion. Millennials and Gen Z have grown up with a new mentality of “disposable fashion” – since clothes is so cheap, almost anything became replaceable.

Unsustainable patterns of fashion consumption need to be addressed as part of Swiss commitment to achieve carbon neutrality by 2050 and, of course, as part of a global commitment captured by SDG 12 on responsible A list from Ge:Reutilise : https://www.ge-reutilise.ch/ recherche?categories=1&keys= SIPY : https://sipy.ch/

consumption and production. But how do we get there? How do we consume fashion better?

One way to address this is by accepting that the best thing to do to reduce the carbon footprint of your closet is to buy less (or no) new clothes. It’s as simple as that. If you need to get something different, you can engage into what researchers call “collaborative fashion consumption” – swapping, renting, or buying second hand.

If you need to buy new, buy from local and sustainable brands. In whichever way you decide to acquire your garments, treat them well and use them as long as possible.

In Geneva, some forms of alternative fashion consumption have been slowly emerging over the recent years: curated for-profit second-hand boutiques and charity shops , pop-up and swapping events , occasional vide-greniers facilitated through social media and neighborhoods, as well as repair cafes that occasionally take place.

Our research shows, however, that these initiatives are scarce, fragmented, and rather unpredictable – which has been further exacerbated by the COVID-19 pandemic. And they lack consumer participation. Do you think you can do something about it?:) Katia Vladimirova enior Researcher, UNIGE

89

definition STEAM & STEM CENTER SET UPS STEAM fields are defined science, and technology, interpreted through engineering, and the (liberal) arts, and based in mathematics.

Variations of definitions for the “A” exist, but no other definition formally defines the arts with research or links the disciplines together as a whole with research. STEAM is designed to integrate all subjects with each other for a way to teach across the disciplines.

These programs aim to teach students innovation, to think critically and use engineering or technology in imaginative designs or creative approaches to real-world problems framed in social studies. STEAM programs add art to STEM curriculum by drawing on reasoning, ethics and design principles and encouraging creative solutions, effectively removing the meaning of the STEM distinction as the term now includes nearly all academic fields, yet still oddly leaving some behind

the idea of adding the arts to the STEM acronym, has conducted research and practicum since 2006 based on researching the formal way that subjects work together and correspond to the global socioeconomic world: “Science and Technology, interpreted through Engineering and the Arts, all based in elements of Mathematics.”She provides professional development training to individual educators and programs on how to use the STEAM framework.[9] In 2009, Senator Mark Warner announced Yakman’s nomination as NCTC’s STEAM Teacher of the Year 2009. (source:Wikipedia)

The founder of the STEAM initiative is Georgette Yakman, who in addition to raising

SDG ZINE

90

Labbies

school section Involving kids and scaling education for the SDGs

91

We are all awesome Lego releases special inclusive set for Pride Month Billund, May 20th 2021 The LEGO Group today announces LEGO® Everyone is Awesome, a set designed to celebrate diversity. The buildable display model is inspired by the iconic rainbow flag which is used as a symbol of love and acceptance by the LGBTQIA+ community, and features 11 monochrome minifigures each with its own individual hairstyle and rainbow colour.

Matthew said that the set was also a celebration of the LGBTQIA+ community within the LEGO Group and amongst the brand’s adult fans.

For information visit www.LEGO.com/EveryoneisAwesome.

Set designer Matthew Ashton, Vice President, Design said: “I wanted to create a model that symbolises inclusivity and celebrates everyone, no matter how they identify or who they love.

“Everyone is unique, and with a little more love, acceptance and understanding in the world, we can all feel more free to be our true AWESOME selves! This model shows that we care, and that we truly believe ‘Everyone is awesome’!”

The 346-piece model stands 10.24cm tall and has a depth of 12.80cm – a perfect fit for most shelves or window sills.

It went on sale on June 1, to mark the start of Pride Month.

SDG ZINE

Matthew Ashton, Vice President, Design, Lego

92

SCHOOL Ecole Internationale de Genève https://www.ecolint.ch Switzerland

Investigate - Initiate - innovate

In production: a new SDGzine special school edition for the International School of Geneva with reflections and local action Ideas from over 500 students.

Year 7: investigate.

Learning Outcomes: 1. The student can explain what The Global Goals for Sustainable Development are.

2. The student can identify which goal they think is the most important and why.

3. The student can divide the 17 goals into 4 relevant groups and explain what each goal in one group means and why they matter 4. The student can explain which SDGs are relevant to a specific country and why 5. The student collaborates well the fellow team members and shows both good listening skills and the willingness to take initiative.

The Importance of the SDGs in Education The Education 2030 Agenda and Framework for Action, notably Target 4.7 of the Sustainable Development Goals (SDG 4 on Education), calls on countries to “ensure that all learners are provided with the knowledge and skills to promote sustainable development, including, among others, through education for sustainable development and sustainable lifestyles, human rights, gender equality, promotion of a culture of peace and non-violence, global citizenship and appreciation of cultural diversity and of culture’s contribution to sustainable development”.

(UNESCO, 2020)

Aim: To investigate the SDGs. Outcome: For each of the 6 mentor groups to produce 2-3 wooden iNFO cube with details of specific SDGs and details relating to them.

Year 8: initiate.

Learning Outcomes: 1. The student engages actively with the various parts of the issue and demonstrates curiosity and creativity.

2. The student collaborates well the fellow team members and shows both good listening skills and the willingness to take initiative.

3. The student does relevant research and there is evidence of reflection and critical thinking.

4. The student can explain which SDGs are relevant to their chosen issue and how they are addressed in their local action.

5. The student participates actively in the preparation and execution of their exhibition.

Aim: To investigate and raise awareness of a topic of choice in relation to the SDGs. Outcome: For each group of students to produce a leaflet and a short video linked to a chosen SDG and a topic pertaining to it.

Year 9: innovate.

Learning Outcomes: 1. The student engages actively with the various parts of the challenge and demonstrates curiosity and creativity.

2. The student collaborates well with fellow team members and shows both good listening skills and the willingness to take initiative.

3. The student does relevant research and there is evidence of reflection and critical thinking.

4. The student can explain which SDGs are relevant to their challenge and how they are linked 5. The student can demonstrate an understanding of the global issue (using Systems Thinking) and address an aspect of it (using Design Thinking) to bring about local action 6. The student participates actively in the preparation and execution of the presentation.

Aim: To raise awareness of a specific SDG challenge and bring about a local action.

Outcome: For each group of students to work with an expert from the UN /NGO, to produce a leaflet and a TEDx talk outlining what they have learned and what they have done to address it.

93

Coding for good

AddictLabbies creating games on SDG scenarios

Scratch is a high-level block-based visual programming language and website targeted primarily at children 8–16 as an educational tool for programming.

Users on the site, called Scratchers, can create projects on the web using a blocklike interface. Projects can be exported to HTML5, Android apps and EXE files using external tools. The service is developed by the MIT Media Lab, has been translated into 70+ languages, and is used in most parts of the world.

Scratch is taught and used in after-school centers, schools, and colleges, as well as other public knowledge institutions. As of July 2021, community statistics on the language’s official website show more than

82 million projects shared by over 74 million users, and more than 73 million monthly website visits.

Scratch takes its name from a technique used by disk jockeys called “scratching”, where vinyl records are clipped together and manipulated on a turntable to produce different sound effects and music.

Like scratching, the website lets users mix together different media (including graphics, sound, and other programs) in creative ways by creating and remixing projects, like video games, animations, and simulations. (source Wikipedia)

use Scratch to create videogames, on an SDG scenario. Important computational thinking is thus combined with reflections on finding solutions for a better world.

Waste War!

At Addictlab and the SDGzine, participants to workshops and students are invited to

Fix the

PLAY

Break Out SDG ZINE

WHY RULES CREDITS

WHY RULES CREDITS

PLAY

94

The Fa Simu

Waste War!

RULES CREDITS

Fix the faucet

PLAY

PLAY

Farmer Simulator

“This game is a game about a farmer (you) farming and paying his bills. The aim of the game is to get as much wheat as you can.

Get the wheat when it’s fully grown (when WHY RULES it’s light-green). Get the upgrade and solar CREDITS panels to increase your wheat gain And How PLAY Fast The Wheat Grows.

You Can Also Donate Wheat And There’s A Chance That You Get More Wheat Back.

The First Thing I Started With Was The Sprites And Costumes, Then I Did The Code And The Opening Screen. The First Costume I Did Was The House And Then, The Wheat.“

Break Out

The Farming Simulator

WHY RULES CREDITS

PLAY

Create your own SDG videogame contact info@addictlab.academy

Waste War!

Jean Talec, 12, designed this videogame to fix the faucet and prevent it from dripping.

PLAY

WHY RULES CREDITS

PLAY WHY RULES CREDITS

Fix the faucet

PLAY

PLAY

WHY RULES

CREDITS

WHY RULES

CREDITS

PLAY

The elf Farming Become an ecoresponsible WHY RULES CREDITS

PLAY

Move the elf to pick up wood.

Simulator

deviens une elfe écoresponsable coding challenge for Labbies

deviens une elfe écoresponsable Break out

WHY RULES CREDITS

PLAY

WHY RULES CREDITS

PLAY

Jean Talec (age 12) https://www.addictlab.com/labmember/174

PLAY

Break Out Break Out

Fix the faucet

WHY RULES CREDITS

Arthur (age 10)

coding challenge for Labbies

Waste War!

Amongst the 170 daily actions we can take is to make sure our faucet is not dripping: you will loose up to 11000 liter per year.

WHY RULES CREDITS

deviens une elfe écoresponsable Fix the Faucet

WHY RULES CREDITS

Create your own SDG videogame

Waste War! contact info@addictlab.academy

The Farming Simulator

WHY RULES CREDITS

WHY RULES CREDITS

PLAY

PLAY

coding challenge for Labbies WHY

RULES CREDITS

PLAY

WHY RULES WHY CREDITS

RULES

CREDITS

PLAY PLAY

ELika

Create your (age 9) own SDG videogame contact info@addictlab.academy

Fix the faucet

WHY RULES CREDITS

PLAY

WHY

RULES CREDITS

PLAY

The famous break out game, but this time with trash to bounce away.

Break Out

WHY RULES CREDITS

PLAY

Tao The Farming (age 10) Simulator

PLAY

deviens une elfe écore-

WHY RULES CREDITS

coding challenge for Labbies WHY RULES CREDITS

Create your own SDG videogame

95 WHY RULES CREDITS

Tools SDG activities & research tools Documentation is key.

Addictlab’s growing database of tools, workshops, and links to the SDGs.

During the lockdowns, the Addictlab Academy crew has started documenting its activities and tools.

1. A database of all the tools.

Do you want to set up a STEM or STEAM center? A Fab lab with educational purposes? We have created a database with over 120 tools today.

The Filemaker based database allows for partners to be added, an inventory of all tools, possible costs of consumables and where purchased. For maintenance purposes a manual can be added as well as safety tips.

2. A growing database of workshops.

• • • • • •

linked to the tool database. linked to one or more SDGs contains description & manual PDF if available age group duration

3. A unique reward system.

Addictlab’s creative chemistry table has over 140 creative disciplines. Fulfilling a challenge from the workshop database can have you unlock a badge and with it, a diploma.

SDG ZINE

1. Building a Lab Curriculum The Badges to be earned are for a wide range of fields, as defined by Addictlab’s unique Creative Chemistry table. Collecting the badges will mean growing skills in art, design, robotics, science, but also soft skills such as collaboration and critical thinking.

2. Gamification of educational activities.

Gamification is a known technique to increase interest in activities. Applying this to educational aspects of the lab will allow kids and participants to have fun while learning and learn while playing.

3. Returning students & fidelity program.

As the interest in Addictlab keeps growing, there is an increasing group of returning kids to the lab. To make sure activities proposed are matching the participants level and maturity, the Lab Badge System will allows us to document on the students and Labbies progress, capabilities and past activities.

4. Levels Badges are creative disciplines, organised per category. Badges will also mention levels, as challenges for the same badge will increase in difficulty, growing with the students’ skills.

How to earn the badges?

At the end of an Addictlab activity (STEAM Camps, Summer camps, other) or during the Wednesday Lab Activities, students will need to solve a challenge. The result will be assessed by the Addictlab team. The Student will receive a Badge certificate and a real badge.

96

SDG based challenges, age group, duration, protocol and safety tips, linked to to the tool database & the Lab badges reward system

Develop a unique mix of skills Earn your lab badges this summer

LAB BADGES 1

2

3

3

ww

.a d

.a d

E

o

ROBOTICS

w

dic tla b.a cad em y

.a d

ENVIRONMENT

w

dic tla b.a cad em y

o

A

CO_01

PHOTOGRAPHY

dic tla b.a cad em y

w

.a d

d

ADVERTISING dic tla b.a cad em y

RECYCLING

.a d

w

dic tla b.a cad em y

H

S

.a d

SUST.DEV.GOALS

dic tla b.a cad em y

.a d

SCIENCE

3

dic tla b.a cad em y

w

d

.a d

3D PRINTING

nn

INNOVATION

w

dic tla b.a cad em y

.a d

w

dic tla b.a cad em y

.a d

R

C

BU_11

i

COLLECT INTL

w

h

.a d

dic tla b.a cad em y

DESIGN

P

TE_08

TE_02

ci

w

.a d

C

CT_07

TECHNOLOGY

TECHNOLOGY

PS_10

HUMAN RIGHTS

w

dic tla b.a cad em y

I

BUSINESS

CRITICAL THINKING

o

ROBOTICS dic tla b.a cad em y

w

CHANGE dic tla b.a cad em y

BUSINESS

DE_02

S

BU_04

d

.a d

PRODUCT DESIGN

dic tla b.a cad em y

ww

R

w

S

CT_05

DG

e

PUBLIC SPHERE

ur

TECHNOLOGY TE_08

ROBOTICS

.a d

ww

.a d

P

h

w

CRITICAL THINKING

ww

w

dic tla b.a cad em y

CT_06

ww

3D PRINTING

dic tla b.a cad em y

ww

ww

d

.a d

R

TE_08

.a d

PS_05

ww

3

TECHNOLOGY

TE_02

w

2

ww

TECHNOLOGY

R

nv

PUBLIC SPHERE 2

r

ww

2

ART

ww

w

dic tla b.a cad em y

.a d

ww

R

w

CRITICAL THINKING

ww

3D PRINTING

GAMING

dic tla b.a cad em y

NA_04

ww

3

d

.a d

A

a

.a d

NATURE

NA_03

ww

w

NATURE

TE_08

ww

ww

dic tla b.a cad em y

w

2

TECHNOLOGY

TE_02

d

3D PRINTING

G

k

SKETCHING

dic tla b.a cad em y

ww

TECHNOLOGY

TE_02

w

2

2

TECHNOLOGY

dic tla b.a cad em y

.a d

ww

2

w

COMMUNICATION

CU_06

CU_01

ww

S

n

ANIMATION

ww

ww

2

.a d

CULTURE

CULTURE

IN_21

ww

A

AA_11

AA_01

w

INDUSTRY

APPLIED ARTS

APPLIED ARTS

w

tr

.a d

STRATEGY dic tla b.a cad em y

o

ROBOTICS

TECHNOLOGY

dic tla b.a cad em y

w

r

.a d

VIRTUAL REALITY

dic tla b.a cad em y

D

w

r

.a d

DRONES

dic tla b.a cad em y

M

w

.a d

MAKER

dic tla b.a cad em y

a

M

ME_05

g

ww

CODING

dic tla b.a cad em y

V

MEDIA

TE_06

TE_10

ww

.a d

ww

ww

w

o

TECHNOLOGY

TECHNOLOGY

TE_09

ww

C

TECHNOLOGY

TE_10

w

.a d

MAGAZINES

dic tla b.a cad em y

Lab Badges database

97

Tools SDG activities & research tools Power of play the 2030 SDGs Game Plays #powerofplay – the 2030 SDGs Game Play is a transformative tool that has the power to change perspectives, bring people together, push boundaries…and bring sustainability to life.

The 2030 SDGs Game is a impactful and thought-provoking in-person game-based workshop that simulates what the world could look like in 2030. The game engages participants in exploring the consequences of our actions, builds appreciation for ‘why’ sustainable development and sparks meaningful conversation about ‘how’ we can each contribute to achieving a more balanced world.

Not able to get together face-to-face yet?

The simulation can also be run virtually, offering new possibilities for connecting people and experimenting around world co-creation.

For more information about playing in-person or online contact Alice Richard of Co-CREATE ImpACT alice.richard@cocreateimpact.com www.cocreateimpact.com

The rules are simple, players receive resources – money and time – which they use to run projects to achieve their personal goals. Playing against the clock in the count down to 2030, each project has an impact on the world. What kind of world will the participants create?

The game has been experienced by more than 250,000 people around the world and can be played with 5 to 50 players in a single world, expanding to 200 for multiple parallel ‘worlds’ games. ‘’It is amazing to see that you can inspire a transformation in thinking in three short hours through game-based learning. The SDG Games are really for everyone - students, businesses, big and small organisations’’

SDG ZINE

98

170 daily actions (free UN online & printed tool) DISCOVER 170 ACTIONS IN YOUR LANGUAGE

NO POVERTY

ZERO HUNGER

Available languages : arabic, chinese, english, french, russian, spanish, german, danish The brochure “170 daily actions to transform our world” now exists in 7 languages, thanks to UNOG’s services contributions and thanks to the courtesy of DPI and UNRIC.

GOOD HEALTH AND WELL-BEING

QUALITY EDUCATION

GENDER EQUALITY

170

daily actions

CLEAN WATER AND SANITATION

Consult them and Act now!

AFFORDABLE AND CLEAN ENERGY

https://sites.ungeneva.org/170actions/climate/

DECENT WORK AND ECONOMIC GROWTH

INDUSTRY, INNOVATION AND INFRASTRUCTURE

To transform

SUSTAINABLE CITIES AND COMMUNITIES

RESPONSIBLE CONSUMPTION AND PRODUCTION

CLIMATE ACTION

LIFE BELOW WATER

LIFE ON LAND

PEACE, JUSTICE AND STRONG INSTITUTIONS

PARTNERSHIPS FOR THE GOALS

99

Challenges Call to action. What can you do?

Now is the time to act. At the SDGzine we are compiling a list of projects and workshops that you can do and tools you can use. Whether in your house, at your school, or in your organisation. Remotely, or faciliated by our team. Contact us at info@sdgzine.org for more information or have a look at our site.

CREATE YOUR OWN SDG VIDEO GAME

Short Make a video game in Scratch.

Sessions Learn about game design, characters, animation. You will need to create a backdrop, your characters and other elements.

You will need to program the game, adding a score and so much more.

Tips Teach about the sustainable development goals, and have the game tackle and solve issues around poverty, gender equality, sustainability, waste etc.

Ages From 8 on

disciplines for curriculum collaboration programming / coding art design sdgs

Order workhops via addictlab.academy

SDG ZINE

COVID FRIENDLY OUTDOOR SDG ACTIVITIES

CREATE YOUR OWN SPECIES COUNTER

GET PLASTIC OUT OF THE RIVER

Short What if we bring the lab outside? We can combine nature, sports, environments to the current lab tools.

Sessions include • Build a life size Da Vinci Bridge • Find fossils and cast them in moulds to produce chocolate • Cyanotype photography of plants using the sun • Create your own herbarium • Land art Ages all ages Order workhops via addictlab.academy

Short A bird counter device. Multi disciplinary activity in our la.: Session • Learn about biodiversity and ecosystems • Learn about the importance of counting species • Design your own device • Code the Micro:bit and integrate in your device • Document and learn from your findings Order Microbits & workhops via addictlab.academy

Short SDG scenario based programming Session Innovative online teaching to create awareness on the SDGs and learn to write code to see robots cleaning up plastic online.

Addictlab Academy has developed a number of scenarios to create awareness on the SDGs and teach kids about coding and robotics. At the lab in France or the SDG Solution Space in Geneva, a giant poster decor is set up. Kids from all over the world need to solve challenges. By taking control over the core team’s computers, they can work together and see the result online.

Book your online session via sdgzine.org

100

Shop SDG activities & research tools > addictlab.com

SDG IMPACT KIT

SDG IDEA WALL

IDEA WALL mur d’idées

YOUR IDEAS & PROJECTS HERE Vos idées et projets ici

IDEA WALL mur d’idées

YOUR IDEAS & PROJECTS HERE Vos idées et projets ici

IDEA WALL mur d’idées

YOUR IDEAS & PROJECTS HERE Vos idées et projets ici

IDEA WALL mur d’idées

YOUR IDEAS & PROJECTS HERE Vos idées et projets ici

What 17 large posters - every poster is about one SDG and marks all targets.

Space for ideation extra: idea flyers that can be adapted to your corporate identity. order via info@sdgzine.org

IDEA WALL mur d’idées

YOUR IDEAS & PROJECTS HERE Vos idées et projets ici

IDEA WALL mur d’idées

YOUR IDEAS & PROJECTS HERE Vos idées et projets ici

IDEA WALL mur d’idées

YOUR IDEAS & PROJECTS HERE Vos idées et projets ici

IDEA WALL mur d’idées

YOUR IDEAS & PROJECTS HERE Vos idées et projets ici

IDEA WALL mur d’idées

YOUR IDEAS & PROJECTS HERE Vos idées et projets ici

IDEA WALL mur d’idées

YOUR IDEAS & PROJECTS HERE Vos idées et projets ici

CREATIVE CHEMISTRY KITS

PLUG & PLAY SOLAR PANEL KIT

What sturdy cards to do research on the impact of a certain subject (your company, product, region, ...) on the SDGS. includes 3 extra cards: Idea card, positive impact and negative impact 50€

What LedSafari’s Plug & Play solar panel kit contains a rechargable battery, switch, solar panel, LED light. We added a DIY laser cut house.

25€

What box 1: 145 creative disciplines box 2: Profiling & Character cards box 3: Sustainable Development Goals all 3 boxes: 150€

In development box 4: Challenges to do in a lab and machines to buy.

101

Support, join an SDG conscious ecosystem & act.

SDGs & art & design

SDGs & education

Thought-provoking concepts from artists, designers and other creative thinkers

Programs for schools to add SDGs to the curriculum Repository of concepts from the 1HDS Master program at the SDG Solution Space

International Geneva

SDGs & Fab Labs

SDGs & Business

Linking makerspaces and fablabs to the SDGs

Helping companies and organizations innovate while aligning with the SDGS

You?

support subscription one year I want to support the SDGzine in 2021 and pay 95 CHF. I will receive two magazines in 2021, a SDGzine reusable mouth mask and special school editions if produced in 2021

advertise

become a partner

I am interested in advertising in SDGzine #02

I am interested in becoming a partner

1/1 page - introduction price : 1500 CHF (prices ex VAT) 1/1 page - introduction price : 1200 CHF (for schools & NGOs)

silver partner: logo on all communication and 2 full page ADs/year : 4500 CHF (ex VAT) /year

1/2 page - introduction price : 800 CHF (prices ex VAT) 1/2 page - introduction price : 600 CHF (for schools & NGOs)

gold partner: logo on all communication, 1 AD and 4 editorial pages on your activities/year: 6500 CHF (ex VAT)/year

1/4 page - introduction price : 400 CHF (prices ex VAT) 1/4 page - introduction price : 300 CHF (for schools & NGOs)

Lab Partner - logo on all communication and 15% reduction on all educational activities you order for your school or organisation: 6000 CHF (exVAT/year)

1/8 page - introduction price : 200 CHF (prices ex VAT) 1/8 page - introduction price : 150 CHF (for schools & NGOs)

Your OWN SDGzine : from 4500 CHF on (to be discussed) other / contact me

you

address

name

organisation/company/school

e mail

SDG ZINE

please tick box if appropriate NGO School tel

postal code

city

country

TVA/VAT nr

102

normal issues

collaborative publications & research Collaborative publication on the sustainable development goals

#01

WWW.SDGZINE.ORG

JANUARY 2021 15€ - 20CHF

The Education Issue

SDGZINE #01

SDGZINE #02

WAS POSTPONED DUE TO COVID

CALLING FOR PROJECTS & PARTNERS

special school editions & other one partner projects and documentation

#00

DEC 2019

Collaborative publication & research on the sustainable development goals WWW.SDGZINE.ORG

New models for SDG innovation From student ideas to product acceleration with the University of Geneva

Includes 2018 SDG SUMMER SCHOOL research projects: 3.01

3.02

3.03

AT YOUR CERVIX

A CLEANAIR GREECE

MOTOSAFE

Early detection of cervical cancer

Non-compliance with smoke-free laws (SFL) in public places such as restaurants

Improve motorcycle safety through affordable and non-distracting technology

10.01

iDOCTOR Diagnosis of diabetic retinopathy based on AI algorithm

5.01

FEM. FRIENDLY Mapping Female friendly Toilets

11.01

YES HELMET Encouraging helmet-wearing to increase the safety for bicyclists

SDGZINE #00 PRINTED & ONLINE

INTERNATIONAL SCHOOL OF GENEVA

GENEVA TSINGHUA INITIATIVE

GENEVA TSINGHUA INITIATIVE

PRINTED & ONLINE

PRINTED & ONLINE

in preparation

SPECIAL SCHOOL EDITION

SPECIAL SCHOOL EDITION

SE4

G E N E VA TSINGHUA INITIATIVE

INTERNATIONAL SCHOOL OF GENEVA SWITZERLAND

Collaborative publication on the sustainable development goals - WWW.SDGZINE.ORG

SPECIAL SCHOOL EDITION

SE5

JULY 2021

OCT 2021

for the Sustainable Development Goals Collaborative publication on the sustainable development goals - WWW.SDGZINE.ORG

#1/ JUNE 2020

your logo INTERNATIONAL SCHOOL OF GENEVA SWITZERLAND

SDG challenges: thinking out of the box

Open Source Health Solutions

International School of Geneva / Years 7-8-9 / 2021

The SDG Summer School 2021

your own SDGzine.

Schools & organisations: run your SDG project and create your own SDGzine.

Contact us for challenges

INTERNATIONAL SCHOOL OF GENEVA

GENEVA TSINGHUA INITIATIVE

in preparation

in preparation

Contact us for SDG challenges, lectures and workshops for your organization or school & let’s create your own SDGzine together. info@sdgzine.org

103