Critical Contextualisation: Holocene Extinction Micro-Memorial Project (Group 5)
In biology, extinction is defined as ‘the termination of an organism or of a group of organisms, usually a species’. Unlike earlier mass extinctions caused by affairs such as asteroid strikes, volcanic eruptions, and natural climate shifts, the common theme that is apparent throughout most current extinctions is in fact the human race. This is known as the Holocene or Anthropocene extinction. It is usual and natural for some species to go extinct, as they are then replaced through evolution as new species emerge. However, the rate of extinction caused by human activity is becoming increasingly more with time, resulting in an evolution that can’t keep up. As a design student, a recent project called ‘Holocene Extinction’ involving the recognition of animal extinction has resulted in further research of what extinction is and how designers can use their creative voice to educate the public further.
“Roughly 99 percent of currently threatened species are at risk from human activities, primarily those driving habitat loss, introduction of exotic species and of course, global warming” — Holly Dublin
Thousands of species today are threatened with extinction due to human activities such as hunting, poaching, pollution, loss of habitat and more. This constantly increasing impact of human activities on land and in the oceans over the past few centuries have dramatically reduced global biodiversity. Therefore, as a result, habitat loss and fragmentation, exploitation of biological resources and climate change have heightened rates of global species extinctions. Throughout history, extinctions or mass losses have obliged designers to create remembrance compositions in order to respect and show recognition for those who have died. These designs are often displayed in the form of a memorial or a monument, which is what the Holocene Extinction project has asked designers to create.
Memorials are often built as a sign of respect for the dead. They are vitally important in our world history as a remembrance for lost people, especially during the twentieth century. Due to the outcome of the First World War, British people needed a focus for their grief, loss and pride. As a result, war memorials were implanted across the United Kingdom as an insight in to the changing face of commemoration. As an important part of cultural tradition, the memorials connect the public with the global conflicts that shaped the world today. The Cenotaph in Central London is a national War Memorial for the United Kingdom which commenced as a memorial to the British losses in the 1914–1918 war. It was designed by Sir Edwin Lutyens originally from wood and plaster as a temporary cenotaph for a National Peace Day celebration. Since the location had become a prominent focus for the peace parade, plans had been agreed for the permanent memorial to be built in the same place, in portland stone. Each year the public place flowers by the memorial as a sign of respect and love, recognising the courage of those who have died, creating a connection between the public and those who have passed. This is exactly what the Holocene Extinction project wishes to recognise: a design which can commemorate the animals and create a relationship between the public and nature in the name of safeguarding endangered species.
“Lutyens’ timeless classical design avoided imagery or bombast with its neutral form, enabling the griever to project their own personal associations onto the memorial” — Historic England
In Central London at Brook Gate, David Backhouse designed a memorial to recognise the role played by animals in the war. The design consists of a 58ft curved portland stone wall which presents carvings of animals, as well as two heavily-laden bronze mules, a horse and a dog. Thousands of animals served with the military during the First World War behind the lines for support and on the battlefields. Horses played an extensive role as they were used to mount military units, guns and wagons. Dogs were often used to seek out bombs or wounded men, as well as carrying medical equipment. Many may not agree with the use of animals at war, simply because they have no say in whether they want to or not and thus it is particularly important to note that the designer acknowledges this. Beneath the main heading of the stone wall, it states:
The sacrifice of animals at this time was colossal and the need for a memorial was just as important as the memorial of the soldiers. Therefore, the two million pounds needed to build the monument was raised quickly from a national appeal and the generosity of many individual donors, charities and companies who appreciated the animals that served and suffered during the conflicts. Again, this generosity from the public to fund the project creates an instant connection and relationship between the public and the animals. The memorial was placed in such a popular location in order to obtain the attention of all demographics of the public, including the younger demographic who would be educated on the loss of animals from reading the memorial. This is an excellent way to use design in order to make the public aware and to feel something about important events in history.
Ultimately, architecture plays a fundamental role in memorial design. Designing monuments and memorials displays the emotional power of architecture, as the architect must be able to balance meaning with the principles of art, while holding a vital importance around the purpose of the memorial: the people who are being recognised. The Jewish Museum in Berlin by Daniel Libeskind, is an example of how this balance can be created. Opened in 2001, the museum is built around the idea of depletion and void, representing the great loss of those by the Holocaust. Libeskind refers to his design as ‘an emblem of hope’, with the zigzagging form, underground axes, angled walls and bare concrete ‘voids’ without heat or air-conditioning. The unique design allows for many interpretations: “For some people it brings to mind a broken Star of David; for others it is a bolt of lightning.” The voids are designed by the architect to represent the physical desolation that emerged from the banishment and annihilation of Jewish life during the Holocaust. This is a remarkable example of how design can be used to express meaning about a particular event and to engage with the public on an emotional level.
“The official name of the project is ‘Jewish Museum’, however I have named it ‘Between the Lines’ as for me it is about two lines of thinking, and relationship” — Daniel Libeskind
Just as horrific events in history involving the deaths of many humans are identified and remembered, it is significantly important to do the same for animal extinction. Little research will prove that not many memorials can be found on animal extinction, however there are many design projects which aim to promote social change in order to help prevent extinction. GreenWave is an organisation which has created an ocean farming system with the aim to restore ocean biodiversity. The system is “made up of differently shaped nets, including mussel ‘socks’, and oyster cages for farming shellfish and seaweed”. Each net is tailored to specific species by floating at certain depths, allowing the farms to restore ocean ecosystems and climate change, as they “produce high yields with a small footprint”. The founder and designer Bren Smith, has made the design an open source, encouraging other fishermen to reduce their carbon footprint and to help reduce damage to ocean ecosystems. This kind of design is a great way to help endangered species and to prevent further extinction.
For the Holocene Extinction project, group five has the aim of creating an interactive memorial, which can appeal to all demographics. From the research carried out in this essay, it was discovered that very little extinction memorials exist and thus the memorial created for this project must be influential and significant, but most importantly it must connect with the public and educate on the impact that human activities are having on the environment. Having the memorial as interactive, means that a younger demographic can be attracted to it and thus receive important information from the design. With the project being displayed at Edinburgh Zoo, activities such as photo opportunities and dress up add-ons can be included in the project in order to create an overall fun and exciting experience. Group five called the project ‘Swing into Action’, targeting endangered Lemurs. Therefore, by creating a 2ft high interactive climbing frame (shown in the image below) containing important information about the endangered animals, group five are ultimately attempting to create a relationship with all demographics by educating individuals of the important ways the Zoo and the public can look after animals in an attempt to help endangered species from becoming extinct.
From the research carried out for this project, it is evident that in order to create a significant memorial, the designer must aim to connect with the public in order to create a positive and emotional relationship between the design and the viewer. Design is often used to communicate and portray a message to those who view it, and thus in the case of memorials, the message must be personal in order to serve its purpose. When designing a memorial, the architecture, design and written words should be carefully crafted in a way that intrigues and connects with the public. The ‘Swing into Action’ memorial is an exciting way to do this, whilst highlighting the impacts of human activities on our wildlife.
“Design is really an act of communication, which means having a deep understanding of the person with whom the designer is communicating”. — Donald A. Norman
