Eternal Forest Sanctuary: Vision to Living Commitment

Artist Evgenia Emets shares the development of her Eternal Forest sanctuary vision into its latest phase as the Seed of Eternal Forest, with opportunities for artists, scientists and thinkers globally to become a movement and mutually supportive network.


2,100 words: estimated reading time = 8 minutes


ClimateCultures editor Mark Goldthorpe has followed Eternal Forest since 2019 and, for this post, shared questions with Evgenia as she was drafting it.

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“Eternal Forest is a living commitment that reminds us across generations: we are nature, and by regenerating forest, we regenerate ourselves.”

Looking back at your decision to start Eternal Forest, what was your inspiration for this, and what did you set out to achieve? How do you feel about that looking back now?

My original inspiration to start Eternal Forest came from witnessing the deep disconnect our culture has created between forests and people. I began Eternal Forest in 2018, six months after moving from the UK to Portugal, and shortly after witnessing the aftermath of devastating fires that destroyed large areas of land here.

These were not just forest fires. They were the result of pervasive monocultures, especially eucalyptus plantations, which have profoundly altered the landscape, increased its vulnerability and reduced its resilience. My initial question was to explore how we might reconnect humans and forests, not only through art, but also through remembering and reactivating our sacred relationship with forests.

Much of my inspiration came from seeing that for millennia, Indigenous and traditional communities across the world have lived in deep reciprocity with their natural environments, holding forests as spiritually significant and relational beings. The understanding that our material and immaterial cultures come directly from forests became a foundation for my work.

Showing artist Evgenia Emets at forest cave. Photograph by Marco Piano, Eternal Forest, 2025
Photograph: Marco Piano, Eternal Forest © 2025

Eternal Forest Sanctuary

In the early years, I created the vision for an Eternal Forest Sanctuary — a physical space (reforested or restored and protected) focused on biodiversity and natural habitats, created through art with communities as long-term stewards of this forest. While my experience and practice are rooted in Portugal, where I live, I see the intentional creation of forest spaces, which we can call sanctuaries, as necessary and timely.

Looking back now, I can say that dedicating my time to Eternal Forest has opened many possibilities in my artistic practice. It revealed new paths of knowledge about forests, showed new ways of learning and being with this wonderful and complex organism. It also opened new relationships with people and organisations: scientists, artists, researchers, and regenerators of many kinds. And artistically it offered me a completely different medium — I started exploring how forest itself can be a methodology and what I could do differently with my art if forest were my studio, my medium, my collaborator and my gallery.

As the project evolved, and as I evolved with it, my perspective also shifted. In the beginning, my focus was more on what was missing and where the gaps were. Gradually, this changed into uncovering and witnessing the beautiful possibilities that already exist in our relationship with forests around the world. Whether we encounter healthy forests or forests in need of restoration, there is always a way to experience joy, to lean into the deep unlearning and receive wisdom directly from the land and its beings.

“We are forest, and we are not separate from it” — this core perspective led me to explore subjects such as forest sentience, plant intelligence, finding ways to communicate with nature and being led by the land while working on projects.

Embodying deep connection

What have you learned so far that was maybe a surprise? Or what have others brought to the project?

One of the most surprising experiences for me last year was realising how deeply we are connected to the land through our bodies, our psyche, our imagination, and our emotions. Intellectually, this is something we already understand, or at least we think we do. But it was only through working closely with the land, especially while walking with the land and designing Eternal Forest in Faia Brava, that this understanding became fully embodied.

Showing Evgenia Emets, Eternal Forest. Photograph by Marco Piano, Eternal Forest, 2025
Photograph: Marco Piano, Eternal Forest © 2025

I began to sense how intrinsically interconnected we are, almost like entangled bodies that, once they have encountered each other, remain in communication. What happens to the land happens to us, and what happens to us also affects the land. When we work with land that has been disrespected or shaped by extractive behaviours, we feel that impact in our own bodies and inner landscapes.

The healing that takes place through restoration and through re-revealing the land’s beauty is mirrored by a healing within our own psyche and physical being. The experience of pain, the witnessing of beauty, the awe of natural phenomena, the sensual moments of being in close touch with the beings of the land, the spiritual closeness of encountering a rare animal — all that goes both ways, it’s a constant conversation. And then how all of that can be woven into practice, into artwork, linked back into the loop of co-regulating and co-evolving.

I am still exploring creative ways to tune more deeply into this field, and to find forms of expression that allow me to transform and alchemise these experiences and share them with others by creating sanctuaries, trails, poetry, and landmarks.

The Seed of Eternal Forest

What is the latest phase of work? What comes next?

One of the latest phases of my work is the creation of the Seed of Eternal Forest in Faia Brava in Portugal. The Seed represents a beginning. It is usually a small-scale intervention that initiates a much longer process of an Eternal Forest Sanctuary on a bigger size land.

In this case, we are working with a conservation organisation in Portugal called Faia Brava, on a very beautiful site along the wild and ancient Côa River, a UNESCO heritage site, with 30,000-year-old engravings of wild animals dotted around the river valley from the hunter-gatherer era. It is such an inspiration for any artist to be connecting with this ancient land. We are working in a context of ageing and declining rural populations, severe deforestation and land degradation, and extremely low rainfall, with conditions that increasingly resemble a semi-desert landscape.

Showing The Eternal Forest 'Seed' image on the ground. Aerial photography by Marco Piano, Eternal Forest, 2025
Photograph: Marco Piano, Eternal Forest © 2025

The first intervention we created is a 30-metre-diameter Seed. This is a symbolic moment that emerges from working closely with the land: observing it, listening to it, and understanding the ecosystem, including which species might arrive and which might remain over time. Our next phase is to go through the process of developing an artistic regenerative design for forest and ecosystem restoration across a much larger area of 10ha, a process that will unfold over many years.

When I approach design, I ask myself: What is the experience people will have when they visit this place? What is the experience of the local community and their relationship to the land? What kinds of experiences can other artists have here, and how might they contribute to the evolution of Eternal Forest and Faia Brava? Another important question is how younger generations will interact with this place, and how they might become stewards and guardians not only of this specific area, but of the wider surrounding landscape, which requires long-term care and attention.

The idea for the design of the Seed in Faia Brava is a symbolic labyrinth, an infinite loop tracing a four-petal meandering path. It takes you through several turns that mirror the inner journey of the pilgrim, the psyche of the land, and the land’s own long story.

The Seed holds trees, bushes and plants chosen for their white blossom, but also being native plants from this area. The idea is that as you visit this Eternal Forest in any season, the Seed always presents itself in colour — a variation of white, where every plant is medicine for the land, animals, and each other. Everything in the Seed is designed to attract biodiversity — pollinators, wildlife — and to create a deep experiential space for humans.

I am further developing designs and possible interventions for different locations. At this point, I am increasingly interested in creating concrete, physical projects that are co-created in collaboration with land and communities, rather than focusing solely on visual artworks.

What follows in the coming months is the formalisation of this work through the organisation Eternal Forest, which was registered in December 2025. Over the past year, and continuing into this year, much of the focus has been on developing projects and creating fundable proposals together with communities, landowners, and land stewards.

What is your vision for Nature Connectedness?

When we speak about nature connectedness, I feel it is important to acknowledge that the term itself already implies separation. To say that we need to ‘connect with nature’ suggests that nature is something outside of ourselves. In reality, we are not separate from nature, but we are living the great illusion, as we have disconnected ourselves from the understanding that we are part of it.

We have moved very far away from seeing ourselves as embedded within natural systems. For me, this is why creating physical spaces is so important. These spaces allow us to create conditions where we can return to harmony with a place, learn directly through practice with the land, and be in direct, embodied relationship with a specific landscape over long cycles of time. Only then we can truly embed ourselves into the land, just like an animal does — find out own paths, find our own rhythm, find our own sacred place, find our own home within the land again.

Inviting all: artists, scientists, thinkers

Is there a way for other ClimateCultures members to reflect on this work? Maybe to get involved?

There are several ways for ClimateCultures members, artists, to reflect on the work and to get involved.

First of all, Eternal Forest is held together by a set of questions that I hold personally and that we also hold collectively as an organisation. This is the first year that Eternal Forest is formally operating as an organisation, and while we are building this new structure, we are also opening the space for reflection and dialogue around these questions.

We are inviting artists, scientists, and thinkers to imagine together with us how Eternal Forest can become a movement and a mutually supportive network. How can artists anywhere in the world catalyse and create their own Eternal Forest with their local communities? And how can the Eternal Forest ‘mother tree’ organisation support them over the long term?

Showing Evgenia Emets planting Eternal Forest. Photograph by Marco Piano, Eternal Forest, 2025
Photograph: Marco Piano, Eternal Forest © 2025

This year in September, we will host an Eternal Forest camp at The Gathering in Portugal, a gathering for regenerative culture. I warmly invite everyone to join. We will release invitations in March, and alongside this, we will be running a series of online conversations. These will be spaces to reflect, contribute, and connect both artistically and philosophically with the community.

In the meantime, people can follow the project by subscribing to our Substack or joining our Telegram channel.

As we establish our first four sanctuaries, we will start opening art residencies.

The success of Eternal Forest depends on people around the world who raise their hand and say, “We have land, with or without forest, that needs protection, and we feel the local community is ready to engage. We want to create a legacy that lasts.”

We are open to collaborating with artists, art foundations, curators, landowners, public institutions, conservation organisations, rewilding initiatives, and tree-planting projects. So I invite everyone who resonates with this work to follow the project, connect with us online for now, and, over time, to become part of this co-creation journey.


Find more

Discover more at Eternal Forest — which includes the short film below on Eternal Forest in Faia Brava 2025 and other videos and art — and on the project’s Substack and Telegram channel.

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From 2026, ClimateCultures is inviting members to say a sentence or two about how they use AI in their work and in their posts for us. We will be exploring this in future posts here and at our ClimateCultures & more Substack.

Evgenia — “I use AI to transcode my speech because the way I write a lot of the time is I speak (sometimes walking in the land!). Then I edit my text. Once in a while, I use AI selectively for research — more technical and comparative. All the stories, images and illustrations are original.”

Evgenia Emets
Evgenia Emets
An artist intersecting land-art, sound and visual poetry through experiences, forests, artist books, calligraphy, performance, objects and community engagement, and whose 'Eternal Forest' integrates ecological thinking.

Cloud Mountain, Thunder Dragon: Stories of Gross National Happiness

Researcher and writer Jules Pretty‘s climb to Bhutan’s Taktstang mountain temple reveals a nation’s story of hope and regeneration through its common focus on Gross National Happiness. “Difficult to reach, but not impossible. Like solving a world crisis…”


2,050 words: estimated reading time = 8 minutes


It is said, each person of Bhutan wishes to make a pilgrimage to Taktstang. Founded in 1692, centuries of reverent feet. A great magnitude of devotion, the build and the maintenance, here on thunder mountain.

Showing: Tiger's Nest: Taktstang temple, Bhutan. Photograph byJules Pretty 2025.
Tiger’s Nest: Taktstang temple, Bhutan. Photograph: Jules Pretty © 2025.

Hello old friend, you say. I know you.

For this is who is waiting.

Taktstang temple calls quietly to the soul. Just welcoming, not demanding. Shall we take up where we left off? Up here hidden in mountains.

At this bird-perched temple and monastery built into the kilometre-high cliff. Half in cloud, spires golden, serenaded by forest birds in the thin air after rain. Hidden, not hidden, hidden again.

Difficult to reach, but not impossible.

Like solving a world crisis, say stopping the use of obsolete fossil fuels, preventing the scouring up of nature.

The climb to the Tiger’s Nest begins not long after dawn. Up there in the eastern hills above Paro, under the blue dome of sky. Up the trail, up steps and foot-worn paths. Through cool groves of seven-needled pine and oak, orchid and fern and old-man’s beard, rich epiphytes on every branch.

The climb’s stiff, at altitude. The sun leaps from the sheer granite cliff, lights the forest, swings around to shine on temple roofs and white walls of stone and clay. Beneath is the drop, the ascent. There’s a fluting bird, the yellow-billed magpie. There are bright prayer flags holding the land together.

Gross National Happiness — changing a country’s story

A pilgrimage of this kind is said to need right speech, body and mind. Speech is the story, body’s the hard work, mind’s the agency and effort. It’s a lesson for any kind of transformation.

The mind gradually empties as you climb. There’s the physical and mental test, then comes a muffled roar, a detachment from sky and land. The wind horses have stopped running. It’s the alchemy of change.

A single white cloud is fixed upon the azure sky.

The temple shimmers, across the ravine.

Far below is the valley, the contoured rice around the town.

Showing: Paro Valley and Himalayas. Photograph by Jules Pretty 2025
Paro Valley and Himalayas. Photograph: Jules Pretty © 2025

Guides accompany each group of visitors. Jigme Chodup says, “One hundred and eighty-one.” The number of times he’s walked this upward pilgrimage. Here came Guru Rinpoche with his consort, she the flying tiger. Here they crushed the dark spirit, the mara of the mountain.

At some point it’s time to turn. To walk down the old trail that’s now a new trail, past herbs and orchids in the forest, past scars of landslips. Passing climbing pilgrims.

“Is there far to go?” A question about life itself.

“No, not far! Don’t stop. Transformation awaits.”

Such hope means taking risks. Precisely what the Fourth King does in the early 1970s. He takes a risk, and people give support.

At the age of 18, people say King Jigme Wingchuk seems mature for his years. He declares Bhutan’s primary aim should be Gross National Happiness. All else should serve this: economy, culture, society.

Some in other countries smirk at the idea of Gross National Happiness. Come on, what about growth? You can’t eat happiness.

What’s Bhutan now known for? Well, precisely this one big and beautiful story.

Gross National Happiness is described in Bhutanese as Gakid Palzon. Ga-happy, Kid-peaceful, Pel-prosperity, Zon-convergent. GNH means “happy-peaceful-prosperity-convergence for all.”

It’s completely changed the story of the country. The way that people talk, their identity, how they act.

A country with no litter, no plastic pollution, no person smoking in public. No pesticides or herbicides, so an abundant insect presence. Every tree filled by a noise-wall of crickets, every green space rich with flocks of butterfly. Nine hundred species of butterflies in the country, thousands more of moths. A country with no slaughterhouse, not one fast-food outlet. All the food organic, all agriculture regenerative.

Showing: Prayer flags and rice paddy. Photograph by Jules Pretty 2025
Prayer flags and rice paddy. Photography: Jules Pretty © 2025

And this too: phone coverage everywhere, no dead signal zones. All electricity from hydropower, the surplus sold to India and now the primary source of national income. The next step: electrify transport.

Who’s the trickster now? 

The king gives up his position, wants the next generation to bring new ideas. The Fifth King says, we’ll give away my power, create a voting democracy. As easy as that.

The country with a negative carbon footprint, it’s now one of a small group with the lowest internal social inequality in the world. And this: the 5th King’s vision for a new settlement in the south, Gelephu Mindfulness City. High tech, new jobs, integrated with wildlife, all the buildings made of wood.

What is it then? Are people elsewhere afraid of the idea of this sort of contentment? That they’ll have to give up things to find it?

What you’ve also not got. You’ll hear no one saying, we think selfishness is best, or friendliness is the enemy of economic growth. Or that growth is king. 

The guide Jigme stops, says, “Just think of what we’d lose.”

That wider world of wonder. It’s still in a hole.

This small country never fell in. This hidden land, it’s not in the hole and it knows how to stay out.

The trickster’s wearing a mask. It’s rags to riches. Right enough, happiness riches.

People love that story. They never get enough of it.

The audience laughs. Too true.

The Masked Dance

One mountain day starts like this. Sunshine, hot for autumn. Clouds hide the hill-tops and snow-slopes of the great Himalayan peaks. It’s the first of three days of masked dance and celebration. The Tsechu festival, the best time of the year.

Gross National Happiness. Showing: Masked dance at Tsetchu. Photograph by Jules Pretty 2025
Masked dance at Tsetchu. Photograph: Jules Pretty © 2025

The first day of dance. The dzong amphitheatre’s brim-full, eight thousand people, dancers down on the stone performance square. To one side, the citadel, white-walls and golden roofs. Clowns in masks wander, prodding the serious dancers, leaning into their faces, engaging with the audience in a side-show of jest and laughter.

The tricksters mimic moves, exaggerate, play at slap-stick entertainment. 

No one’s allowed to take themselves too seriously. Laughter is good.

The audience loves it.

The national TV station broadcasts all the action across the three days. Homes and restaurants have their TVs running all day. There’s no commentary. Everyone knows the stories.

Here’s the Black Hat dance, monks spinning as they fight the devils of desire, beating hand-held drums.

Here are masked animals. The mythical faces of gold and green and blue: the tiger, the snow-lion, garuda, dragon. The audience eats and chats and points.

Here’s the dance of couples, a tall woman and man, calm-faced masks, tested to the limit. Yet the marriage survives it all. Children laugh, play on phones.

Rain starts to fall, gently as moths at evening dusk. Five thousand umbrellas ping open, and families cluster underneath.

Nature’s an important healer too. Especially when it’s abundant. When it’s not being beaten half to death on the ropes.

Overlooking the capital, all perched on steep slopes, the river dashing far below, high on the hill is the fifty-metre golden Buddha. Often hidden in clouds. But present, all the same, in people’s lives.

Sunlight briefly falls upon the Buddha. On his shoulders, on his lap, on his smiling face. The mountain dances, the arching rainbow a scarf wound around the mountain’s wrist.

And in each temple, in each Dzong fort, there’s golden light on the Buddha and disciples, on Guru Rinpoche who brought Buddhism to the country. Energy flows in from the universe, streams out again. Butter lamps flutter in the endless draughts, wind channelled down wooden corridors, high windows open to the world.

Showing: Butter lamps. Photograph by Jules Pretty 2025
Butter lamps. Photograph: Jules Pretty © 2025

In the golden light of the sweet butter lamps, shadows dance on walls, murals are alive with tiger and snow-lion and elephant. The animals jump and blink, as it did for early humans when they stood right before the cliff face, the cave wall.

A monk pours saffron water on your hands.

For this is a place of story. How to care for places, keep them sacred.

By the banks of the river, two villages are engaged in archery competition. The men are mostly elders, burned by life in the fields. Like all team sports, there’s laughter, jesting, ribbing. They’re wearing sashes on their belts, one for each successful strike.

The target’s no more than a handspan wide. It’s 140 metres away.

Hitter and hit are not two opposing objects, they are the reality of the whole. The archer, the bamboo bow, the bamboo arrow. The arrow departs the eye of the archer, curves high in the sky. Time passes as it arches over the butts. There’s an acceleration at the end as the arrow at last is caught by the eye.

There’s an unzipping of the air, the arrow buries two feet deep, into the grassy mound, into the target.

The men simply sway aside. They call to the next archer, right a bit, up-up. Listen to the wind, to all the world around them. Another arrow pierces the sky.

A team breaks into dance and song when the arrow strikes the tiny target.

Jigme laughs, says, “Well, they are a bit drunk.”

All around, the contoured gold and green of paddy fields. Some drained and cut, hand threshing underway. The irrigation water travels from one field to the next below. Frogs are calling.

And so the monsoon rebounds, dashes in. A month after it should be over.

A growth story of the 21st century

Sixteen hours of torrential rain. Crashing thunder dragon, fire and lightning. Morning light comes late, dull and blue. The hills are hidden in mist. The river’s maddened, no longer blue and sweet, now a rushing, crashing venomous snake. Water strikes rocks, rises high in standing waves, whole trees spinning and leaping away.

“I’ve never seen anything like this. At this time of year,” says Jigme.

Never has such a storm come, so long after the old certainties of the monsoon.

On the drive over the Dorchu-la Pass, there are landslides every forty or fifty metres. Rocks ping off the road ahead, bounce away. The driver looks up, the guide looks ahead.

And what ugly devils stirred up this storm? Brought it to the people whose carbon footprint is less than zero?

All over the country, all across the north-east of the sub-continent, landslides and falling rock, bridges washed away. Snowstorms fall on the high mountains, strand climbers, a hydro dam is overtopping.

What else will come to the Himalaya with its forty thousand mountain glaciers? A billion people relying on a calm supply of meltwater for drink and irrigation.

Showing: Thimphu dzong. Photograph by Jules Pretty 2025
Thimphu dzong. Photograph: Jules Pretty © 2025

Bhutan’s the growth story of the twenty-first century. Growth of happiness, growth of economy working within strict boundaries, growth of equality. An economy that does not impose externalities on others. A marvellous thing.

People here, they’re earth-cherishing people, as Joan Halifax has put it. They know how to look after the future.

How to be happy, peaceful, convergent.

Your age of oil? It’ll soon be over.

Eight hundred summers ago, Dōgen Zenji slides open rice-paper doors in Japan. He’s in the temple he founded, Eihei-Ji, the temple of eternal peace.

He sees, mountain, cloud, patches of blue sky. He writes this in the Mountains and Waters Sutra:

“There are mountains hidden in sky.
There are mountains hidden in mountains.
There are mountains hidden in hiddenness.”


Find more

UPDATE February 2026: You can now watch National Happiness and Social Equality: This is How Bhutan Did It, a special companion video to this post, recorded by Jules as part of his Story for Climate & Nature Recovery YouTube Channel.

Jules’s guide, Jigme Chodup, works for the Thimphu company, Keys to Bhutan.

“Anything that exists is possible,” is the message of this short YouTube excerpt of a feature on Bhutan’s journey with Gross National Happiness (with a link to the full documentary).

You can find out more about Gross National Happiness and other measures for wellbeing at the Oxford Poverty and Human Development Initiative (OPHI). 

For more on the role of story, see Jules Pretty’s YouTube channel, Story for Climate and Nature Recovery — including this short video on the role of Tricksters in Story. We have featured Story for Climate and Nature Recovery in our Creative Showcase.

For more of his research and writing at Jules’s website. 

Jules Pretty

Jules Pretty

A researcher and writer on environment and society, including ‘The Climate Chronicles’, and is author of several books on climate, nature and the stories we tell.

Solidarity in Place: The Hokianga Community Drawing Project

Ecological artist and researcher Laura Donkers reflects on community drawing approaches to uncovering shared emotional connections and promoting dialogue about ‘home’ as ‘place’ and ‘process’ — both aspects impacted by human-caused climate change, ecological breakdown, and biodiversity loss.


1,450 words: estimated reading time = 5.5 minutes


We consider this vibrant, beautiful, and resilient living world as our home: yet the impacts of human-caused climate change and ecological breakdown challenge this concept. While we witness these impacts on the daily news or experience it for ourselves there is an urgency to explore the emotional experiences involved in facing the climate crisis and a need for exchange and dialogue to generate new connections and understanding across peoples and cultures. Climate change forces us to reflect on how we are living and the intrinsic link to wider social issues of housing, environmental degradation, access to public services and poverty that is causing a re-envisioning of the concept of home as both as a process and a territory.

In these challenging times, art can help to focus perspectives on uncertainty about living in places that are changing, offering forms of connection that complement, challenge, and expand understanding. Socially engaged approaches especially offer unique opportunities to share that can help people process complex emotional experiences, and establish ways to imagine and act together.

For example, participatory drawing offers the participant a visual form of ‘being heard’ that can create insights into place between the people who live there, and also present different world views as a visual conversation. It provides a way to unpack assumptions about the emotional demands of the climate crisis by focusing on situated, localised and personal experiences towards developing shared emotional connection.

Showing First marks, Women's Health event. Photo by Laura Donkers 2023
First marks, Women’s Health event. Photo: Laura Donkers © 2023

Place and process — community drawing for home

In November 2023, the Hokianga Community Drawing Project deployed the creative agency of collective drawing to achieve a non-textual rendition of how the climate crisis is affecting communities located to the north and south of the Hokianga ferry link in Northland, Aotearoa New Zealand. This drawing project was delivered in the historic town of Rawene during a four-week artist residency, with the aim of uncovering lived experience connections between people, place and location at a time of climate crisis.

I delivered the project as a series of street-based workshops held at public events, community galleries, used-book sales and produce markets. The workshops made use of very simple materials which were safe to handle and durable enough to withstand the rigours of the workshop environment. These were a primed canvas roll (10m x 1.5m) and home-made charcoal from the local mangrove trees. This local material proved to be a most valuable instrument for initiating discussion on climate change. Mangrove trees typify Northland’s inter-tidal zones. They provide important habitat for unique biodiversity. They have an unequalled ability to buffer coastal erosion and storm surges and have great capacity for carbon capture and storage. However, their cultural significance in Māori allegory regarding their mana (prestige and power) as ancestors encapsulating the hau (essence) of the location proved to be an important contribution to the successful delivery of the project.

Showing Mangrove at Rawene. Photo ny Laura Donkers 2023
Mangrove at Rawene. Photo: Laura Donkers © 2023

On arriving in Rawene to undertake the residency, I had yet to comprehend the reality of being a ‘white, European stranger’ in a Māori dominated community and how this would hamper my attempts to engage with local level social institutions such as schools and environmental and political groups. Sadly, all my communications with schools and environmental organisations, initiated months before, were either rejected or remained unanswered. The uncomfortable issue of my temporary presence in the community pivoted around whether I had any right to be in this land and the correlation between my own comfortable life and the dispossession of Māori from their land and culture. Building good relationships to be seen as a trusted and valued visitor would require much longer than the four-week timescale available to me. However, as meeting the community through local institutions was not possible, a small paradigmatic shift that I could make was to open the project up to any level of community interaction by moving my drawing project onto the street. Despite my fear of rejection, this is where the project was able to encounter the very people who wanted to engage, share and exchange their experiences and perspectives.

Showing Drawing workshop on the street outside Village Arts, Kohukohu, Northland. Photo by Laura Donkers 2023
Drawing workshop on the street outside Village Arts, Kohukohu, Northland. Photo: Laura Donkers © 2023

In terms of evoking connection to the Hokianga landscape I used imagery of the Mangrove as a key compositional frame to help participants feel their way into contributing towards the visual, collective terrain of the drawing. I invited passersby to contribute a drawing or even just some marks if they expressed doubts about their drawing skills. These invitations to contribute were mostly accepted and had cumulative impact as participants displayed the simplicity and openness of the activity to onlookers who quickly wanted to join in. This process induced the creation of a collective visual record of significance and meaning through personal, shared perspectives of daily life in the Hokianga.

Showing Drawing workshop at No1 Parnell Gallery, Rawene. Photo by Denis Orme 2023
Drawing workshop at No1 Parnell Gallery, Rawene. Photo: Denis Orme © 2023
Showing Drawing in progress. Photos by Laura Donkers 2023
Drawing in progress. Photos: Laura Donkers © 2023

Drawing connections — art and dialogue 

Collaborative drawing projects produce documentary evidence that can stand in solidarity with people and help their voices to be heard, amplified and validated as worth listening to. It can be a form of visual testimony for the public to connect with as a vision of insight, knowledge and experience of climate change that is both personal and universal.

Lived experience as a foundation for drawing captures what has been sensed, felt, thought about and performed. I wanted this project to open up capacity and dialogic potential so that people would reflect on the impacts that locally experienced extreme weather events might be having on their property, travel plans, infrastructure, supply chains and livelihoods.

Showing the ompleted drawing at The Church, Rawene. Photo by Laura Donkers 2023
Completed drawing at The Church, Rawene. Photo: Laura Donkers © 2023

While creative projects in themselves cannot alter the impacts of environmental and ecological destruction, they can do two important things. Firstly, they can help to uncover shared emotional connections, and, secondly, they can promote dialogue with different people, especially those who either do not usually comment or are not motivated to speak out and protest environmental calamity and injustice.

Reflections

I had devised this project with the intentions of discovering how people were understanding and responding to the emotional and physical impacts of the climate crisis. Creative public engagement traverses sensitive emotional territory that I felt would need professional input. I had therefore sought support from a range of local organisations with direct connections to the community, such as schools and environmental organisations, thinking that they would welcome me. Yet, reluctance from these organisations to engage with me at any level left me with no choice but to meet the community as a lone practitioner. Surprisingly, this situation seemed to create just the right conditions for encountering the very people who would normally shy away from sharing their personal experiences. Engagement through drawing overcame the usual uncertainty and reluctance to contribute that ultimately facilitated dialogue between us.

I also benefitted from this learning experience as a reminder to ‘trust the process’, but it wasn’t easy. I found myself questioning Why I had wanted to come into this community? and What did I think I could contribute with this work? Over the weeks as I walked between venues carrying the drawing, it was sobering and humbling to develop an understanding that I, the stranger, was carrying the hopes, fears, dreams and wishes of this community on my shoulders. It was the drawing, rather than I, that was the interlocutor.

The finished drawing disclosed a collective visual expression of home by the community, who navigated bicultural differences to uncover solidarity, appreciation and respect for the diverse cultural identities amongst them. It also achieved a restorative function through shared emotional connection to location, place and community expressed through the medium of collective drawing. I hope too that it also reveals some of the complexities of the Hokianga as a spiritual, visceral, domestic, cosmological, ancestral and protected place as I had sensed and savoured it during my sojourn there.

Showing Laura Donkers carrying the completed Hokianga Community Drawing on the Kohu Ra Tuarua vehicle ferry between Rawene and the Narrows. Photograph: Pania Greene © 2023
Laura Donkers carrying the completed Hokianga Community Drawing on the Kohu Ra Tuarua vehicle ferry between Rawene and the Narrows. Photograph: Pania Greene © 2023

Find more

You can read Laura’s full account of the project via the link at The Hokianga Community Drawing Project page on her website.

Her paper The Hokianga Community Drawing Project: te ao hurihuri (at the end of the beginning) appears in e-publication Drawing Conversations 5: What and Where is Home? edited by Greig Burgoyne and Jill Journeaux.

You can read Laura’s previous ClimateCultures posts on her eco-social arts practice, including ‘What You Need Will Come to You’, where she introduces how her experience in Aotearoa New Zealand helped her explore Kaupapa Māori approaches.

Laura Donkers
Laura Donkers
An ecological artist and researcher connecting people with ecology through community projects and outdoor art workshops to inform more creative and sustainable ways to live.

Stories We Tell About Food & Regenerative Farming

Animist farmer & writer Paul Feather reviews the book Six Inches of Soil and finds that progressive stories about regenerative farming could better integrate their roots in Indigenous practices of reciprocity and respect and tap the deeper implications of radical perspectives.


2,900 words: approx reading time = 11.5 minutes


“Despite all our accomplishments, we owe our existence to a six-inch layer of topsoil and the fact it rains.” – Paul Harvey (1978) U.S. radio broadcaster

The stories that we tell each other, the stories that we were told perhaps by teachers or parents when we were young, those that we tell not simply in words—though words are very much a part of it, and I return to words in a moment—but that we enact with our choices and continue telling as they were told to us: these stories are the meat and potatoes of culture.

As I write this, my impatient daughter leans over to me and whispers that she is hungry. She speaks softly so as not to interrupt her mother’s conversation with two neighbors about these stories we tell and how we might gather over food one day soon to retell them together. Out of respect for this conversation, or simply because she judges me more likely to stop what I am doing—to stop typing these words—my daughter interrupts me instead of these others to tell me that she is hungry.

Eat another cantaloupe, I tell her. There are leftover potatoes in the skillet on the stove. You made bread at school today, and there is some left. Go eat it.

And we each will have our stories about this. I think to myself that she is bored more than hungry, but I don’t know what her stories are. Maybe that I am boring, or that someone should have made dinner, or that eggs are easy to make but she is tired of eggs.

Every meal has a story.

The stories we all tell about food are bound up with other stories: sometimes with stories about how we gather in community to cook it or eat it or grow it, or about the meaning of the soil and the Earth. They’re existential. They influence how we all act.

Regenerative farming: Showing an image of soil from 'Six Inches of Soil'
From Six Inches of Soil (2024)

Our food is globalized, so now our stories about food are further bound up with other stories about geopolitics and climate and war and just about everything else. It’s gotten rather complicated.

Social movements, scholars, and corporate or government bodies have been trying to unravel this complication and to converge on a viable global story about food, and the collective story has grown to encompass billions of words worth of books, academic papers and all the rest; but anyone with a lick of sense can tell that we haven’t really got it figured out just yet.

So writing about food is a tricky business.

Six Inches of Soil

Over the last few days, I’ve been reviewing Six Inches of Soil, a book accompanied by a documentary of the same name (which I did not watch) that describes the English movement for regenerative agriculture (RA).

The book starts off by introducing itself as a continuation of the documentary project and then the first three chapters establish the background for a conversation about regenerative farming.

Regenerative farming: Showing the cover of the book, 'Six Inches of Soil' (2024)
Six Inches of Soil

The first chapter summarizes the Green Revolution with a more-or-less mainstream analysis presenting it as “a miracle that created a disaster.” Some readers might object to this analysis and argue that the Green Revolution wasn’t as miraculous as it’s sometimes made out to be, since small family farms have always been more productive than industrial corporate operations. In her 2016 book Who Really Feeds the World, Vandana Shiva points out that small family farms—most less than 2 ha in size—produce 70% of the world’s food while being relegated to less than 25% of the farmland [1]. But Six Inches of Soil sticks to the mainstream narrative here about the miraculous productivity of industrial agriculture, and so that’s uncontroversial in a sense. In any case, every legitimate analysis agrees that whatever the initial value of industrial agriculture, it has made a very big mess.

The second and third chapters attempt to define regenerative agriculture and lay out the soil science behind it. Defining RA is a bit tricky: the billions of words of story about food is sometimes vague on distinctions between regenerative and other frameworks like organic, permaculture, agroecological, conventional, etc. Six Inches of Soil presents RA as a methodology that conforms to certain principles and practices intended primarily to increase soil health—which mostly means incorporating organic material, sequestering carbon, and increasing biodiversity—all good things.

It is a problem that Six Inches of Soil presents ecological farming as an outgrowth of the Green Revolution. The book’s claim that regenerative farming paradigms are a response to the destruction caused by chemical industrial agriculture is completely false. [2] & [3]

Regenerative farming has been practiced for thousands of years by Indigenous people all over the world, and while the book mentions that European scientists began to think about organic farming after studying Indigenous growing methods, its failure to meaningfully and consistently acknowledge the origin of regenerative agriculture in Indigenous thought and practice as well as Indigenous people’s continued contributions to the movement will have implications for later chapters.

Case studies in regenerative farming

The middle portion of the book describes three different regenerative farms. The first is an 800-acre commodity grain operation that has brought sheep into their fields to build fertility and transitioned away from plowing in favor of less impactful cultivation methods. The second is a small start-up market garden that also integrates sheep for fertility and tills only minimally with hand tools. The final case study is a rotationally grazed cattle operation that experiments with silvopasture.

The case studies give the book a more grounded center and—along with the dialogical style arising from the book’s origin as a documentary film—make this a relatively easy read in spite of the complex topic.

Showing 'Principles of Regenerative Agriculture', from Six Inches of Soil (2024)
The principles of regenerative agriculture presented here in ‘Six Inches of Soil’ are strictly material and omit socio-cultural aspects of RA such as reciprocity, the sacred, or human rights.

All of the case studies present regenerative farming as bit of a struggle—though a rewarding one—and none of the operations are exceptionally profitable. Indeed, none of the featured farms pay their operators a living wage. These growers seem to be motivated mainly by a passion for their work and a sense that they are contributing to a positive social and environmental movement.

What does regenerative farming regenerate?

The final two chapters of the book present first a more spiritual dimension of regenerative agriculture and then a view of the future. These chapters taken together—along with several interludes sprinkled between the chapters—illustrate a fundamental tension within the RA movement. I perceive this as a tension between a mainstream, progressive, modern paradigm and a smaller more radical current that finds in agroecology far deeper implications about cosmology, epistemology, or spirituality. (In full transparency I am firmly committed to the more radical interpretation.) Somewhere in between, we might discern a dialogue that promotes relatively radical restructuring of our economic and social value systems, but does not find modernity to be completely bankrupt and would attempt to evade an epistemological crisis.

The book as a whole maintains a very progressive—and I would argue mainstream—synthesis of regenerative agriculture as a strategy to mitigate climate change. The book promotes a theory of change in which consumer choices and movement-building put pressure on governments and corporations to enact better policy. Most of the interludes and much of the final chapter offer policy suggestions or regulatory strategies that would support a healthier food economy. Progressive readers will be very much at home with all of this, while readers less enamored with progressive politics may be underwhelmed by these portions of the book.

I judge that the mainstream progressivity of the book as a whole arises from viewing RA as a response to the Green Revolution and from failure to acknowledge that Indigenous people have been doing regenerative agriculture for thousands of years and continue to do it in many places.

A 2023 article exploring anti-colonial definitions for regenerative agriculture finds that neglecting the paradigm’s Indigenous origins results in over-emphasis of its biophysical dimensions and tends to omit socio-cultural aspects that are critical to the movement’s success in mitigating global catastrophe. The authors suggest an anti-colonial definition for RA that foregrounds these socio-cultural aspects by making them a container for the biophysical farming practices:

A way of farming comprised of entangled values and practices, and founded in Indigenous principles of loving-caring for the Earth. This approach to farming values 1) reciprocity, 2) respect, 3) collective (human and non-human) wellbeing, 4) knowledge co-creation, 5) (re)localization, and it is often practiced through some combination of 1) minimizing soil disturbance, 2) maintaining vegetative soil cover, 3) maximizing diversity, 4) integrating livestock, and 5) minimizing synthetic agrichemicals. [3]

When we abstract regenerative agriculture away from its origins and away from this broader cultural container of reciprocity and respect, when we pay attention only to its biophysical dimensions, what we end up with will not address the roots of the global environmental crisis. Choices enacted from this narrower interpretation of RA will likely perpetuate environmental crisis.

On spirit

Chapter seven is about the more spiritual side of agroecology.

Chapter seven brings a deeper ecological perspective to the book by gesturing toward the unfathomable microbiological complexity in the soil popularized by scientists like Anne Biklé or Martin Sheldrake; more radical perspectives such as Vandana Shiva’s statement that our sense of self could or should arise from having our hands in the soil; and by including several poignant observations from contributors like Satish Kumar, who observes,

In our modern mechanistic world view we only recognise things which can be measured. What cannot be measured does not exist. I think this worldview needs to change.

Satish Kumar. From Six Inches of Soil (2024).

This chapter seems intended to address the deeper cultural implications of agroecology—and it more or less does—but there is a difference between including a chapter about something and making that something a container for the entire book.

The book has 22 contributors, and for some of them it seems that the movement is mostly about moving carbon from the atmosphere into the soil so that it better delivers ecosystem services and mitigates global warming. This is entirely consistent with a modern mechanical worldview, does not require a deep cultural shift toward values of reciprocity and respect, and according to this interpretation a farm growing sugar for Coca-Cola on land stolen from Cambodian peasant communities could be regenerative if percent carbon in the soil is going up. [4]

Some contributors like Satish Kumar and Dee Woods do consistently foreground deeper epistemological and cultural issues, but the book as a whole does not.

Something missing

Sitting here now and returning to wrap up this review after letting it simmer overnight, I am again writing between interruptions from my daughter about the food we will eat. She is neither bored nor hungry today. She is chatting with me while cutting up pears and apples and roasting them as an after-dinner treat for company visiting this evening—a service she proposed as an exchange if I would boil potatoes for dinner, and to which I readily agreed.

And so today as every day we enact our stories about our food, and inside of this story where my daughter is cutting up pears I will try to cut to the center of my thoughts with these awkward words and to have time left over to boil the potatoes before the guests come.

Regenerative farming: Showing an image from 'Six Inches of Soil'
From Six Inches of Soil (2024).

There is a sense that however many billions of words we have written, there remains something missing from our stories about regenerative agriculture. A 2022 literature review comparing agroecology and RA frameworks explores whether politics are the thing that is missing:

One aspect of agroecology that does not always fit comfortably in the realm of regenerative agriculture is political activism, or the place and emphasis that the “social” dimension takes in the definition of the social-ecological system. This is perhaps one of the reasons why agroecology is more closely associated with peasant movements, for whom claims on rights and access to natural resources are urgent, while regenerative agriculture is an approach increasingly—but not exclusively—also adopted by commercial, often large-scale farmers or external investors less concerned with natural resource access or food sovereignty issues. [5]

The mainstream trend in the RA movement does actually promote political activism, but I think it somehow remains apolitical in the sense that it’s progressive rather than radical.

To the extent that an ecological worldview finds our disconnection from the land rooted in deep cultural dysfunctions, and to the extent that progressive politics fail to address those dysfunctions, I wonder if the mainstream current within RA might be agroecology without the ecology?

Whatever framework we use, if it isn’t held within a cultural container of reciprocity and respect, it is without a soul.

Six Inches of Soil could more naturally address these deeper dysfunctions if it better acknowledged agroecology’s roots in Indigenous farming practices and the cooption of those practices by Western academics and scientists who adopted “regenerative” methods without acknowledging the central values of the cultures who invented them and who, in coopting these methods, failed to perceive that regenerative values are integral to the methods themselves.

But these are fraught and thorny issues, and perhaps it isn’t reasonable to expect this book to adequately address the deep dysfunctions of our culture. If portions of Six Inches of Soil fall short here, it does also clearly advocate that consumers get their hands in the dirt and visit a farm—that we all build better relationships with growers and make some connection to the soil, and that we make opportunities for children to do the same. If the book is effective in that advocacy—if people read it and then tear up their front yards to plant a garden with their children, or even if they grow a bit of kale in a pot on the patio—then I think it is a successful project and I am grateful for it.


References

[1] For data to support this claim, see Hungry for land: small farmers feed the world with less than a quarter of all farmland (2014), published by GRAIN, a small international non-profit organisation that works to support small farmers and social movements in their struggles for community-controlled and biodiversity-based food systems. 

[2] Six Inches of Soil p25: “There have been a series of ecologically or biologically based farming systems that have responded to the roll out of industrial farming. The first response was biodynamic farming, and then came organic farming in the late 1930s. Permaculture, agroforestry and agroecology arrived during the 1970s, and then finally, we have regenerative agriculture.” See also the chart on p26.

[3] Origins of regenerative paradigms in Indigenous agriculture are well documented, e.g. Sands, B., Machado, M.R., White, A. et al. Moving towards an anti-colonial definition for regenerative agriculture. Agric Hum Values (2023). 

[4] This is just one example where this sort of claim gets made, e.g. ‘Nature-based solutions’: Land grabs in nature’s name (2022), published by PAN Asia Pacific (PANAP), one of five regional centres of Pesticide Action Network, a global network dedicated to the elimination of harm upon humans and the environment by pesticide use, and to the promotion of biodiversity-based ecological agriculture. Six Inches of Soil does not make explicit claims that projects associated with clear human rights violations are regenerative, but neither does it consistently and unambiguously clarify that they are not.

[5] Tittonell, P et al. Regenerative agriculture—agroecology without politics? (2022). For another review on the contestation of these terms, see Giraldo, F and Rosset P, Agroecology as a territory in dispute: between institutionality and social movements (2017).

Find more 

Six Inches of Soil: How to heal our soils, ourselves and our communities through regenerative farming ed. Molly Foster, Priya Kalia & Jeremy Toynbee (2024) is published by 5m books. Contributors: Mike Berners-Lee, Matt Chatfield, Henry Dimbleby, Adrienne Gordon, Vicki Hird, Anna Jackson, Andrew Jackson, Hannah Jones, Satish Kumar, Tim Lang, Claire Mackenzie, Nicole Masters, Josiah Meldrum, Lucy Michaels, Emma Mills, James Murray-White, Marina O’Connell , John Pawsey, Tom Pearson, Colin Ramsay, Nic Renison, Lizzie Sagoo, Ben Thomas, Ian Wilkinson & Dee Woods. The book consists of seven chapters and six ‘interludes’:

Chapter 1: It’s a miracle, but that miracle has created a disaster
Chapter 2: Regenerative farming, what is it?
Interlude I: Are we using our farmed land wisely?
Chapter 3: The science of soil
Interlude II: Regulation, greenwashing and co-option
Chapter 4: Regenerative mixed farm: Pig Pink Farm, Scunthorpe, Lincolnshire
Interlude III: Subsidies, Brexit and trade
Chapter 5: Organic market garden: Sweetpea, Caxton, Cambridgeshire
Interlude IV: Food security and UK self-sufficiency
Chapter 6: Pasture-fed beef: Treveddoe, Bodmin, Cornwall
Interlude V: Applying agroforestry in mixed regenerative farming
Chapter 7: Soil as soul
Interlude VI: Enterprise stacking
Chapter CHAPTER 8: How do we build a sustainable future for food and farming?
Epilogue – Act now

In parallel to the book, the documentary film Six Inches of Soil, directed by Colin Ramsay, tells the story of British farmers standing up against the industrial food system and transforming the way they produce food. The film website includes additional reading and resources, including an impact campaign.

In his previous ClimateCultures post, Dystopian Farming: an Inquiry, Paul introduces ‘dystopian farming’ as resistance as well as sustenance and a search for joy and meaning that makes our dire times tolerable: the potential for liberation. And in Super Wicked Problem – or, the Crisis Formerly Known as Climate, he seeks the meaning of our planetary crisis in local spaces of resistance that serve as the wombs from which deeper understanding will be born.

Paul Feather

Paul Feather

An animist farmer and author whose artistic interests include the courtship of landscapes for food and seed and translating animist thought into the language of physics.

Regenerative Designs for the Planet

Showing the 3 elements of regenerative designClimateCultures editor — and UK Architects Declare Manager — Mark Goldthorpe looks at new initiatives for regenerative design, a paradigm shift embracing principles of being a good ancestor, coevolving with nature and creating a just space for people.


2,330 words: estimated reading time = 9 minutes


For the past few decades — certainly since before I began my career in environmental and climate issues — ‘sustainability’ or ‘sustainable development’ has been the guiding principle behind local, national and global efforts to steer us away from greater destruction of our natural world. Language has changed over that time, not least in how we talk about ‘global warming’, ‘climate change’, ‘global heating’, ‘climate catastrophe’, the ‘Anthropocene’, ‘environmental justice’, ‘ecocide’, and so much more. But ‘sustainability’ has stuck — perhaps partly because this short word covers a host of meanings and so has the potential to bring disparate communities together around common concerns, albeit often working to different priorities.

The phrase ‘sustainable development’ emerged from the UN Brundtland Commission in 1987. It proposed a goal of “meeting the needs of the present without compromising the ability of future generations to meet their own needs.” Sustainability here was conceived of as protecting a capacity for humanity to survive, even thrive, into a future that was no longer being undermined by our present acceleration of resource depletion, accumulation of waste and pollution and destruction of natural habitats and wildlife: sustainability as the ability to carry on. Part of the word’s appeal is to businesses’ powers of innovation and enterprise in ways that can sustain their profitability by diverting it to less damaging activities. At the same time, environmentalists could see it as a practical vehicle for delivering better nature conservation, greater recognition of the innate value of the world’s habitats, species and ecosystems, and an urgently needed move to ecoefficiency.

Although much debated at the time across a spectrum of opinions, from ‘deep  green’ to ‘green capitalism’, the promise of sustainable development was that we could meet our needs both now and indefinitely into the future. A large banner under which to gather all our ambitions for a better world.

Has it worked? What have we been sustaining for the past 30 years? Our technological efficiency has improved, and movements to stimulate and accelerate popular and political action have flourished. But our waste and pollution, our energy demand and resource use, our habitat destruction and species extinction, and the concentration of greenhouse gases in our oceans and atmosphere have all continued to grow too, with all the impacts we imagined these would bring, and more. ‘Growth’ is still the dominant paradigm, even with sustainability as the supposed goal.

In 2023 the Stockholm Resilience Centre reported that we’ve now breached six of the nine planetary boundaries we rely on. Can we say that sustainability is succeeding? Should we say it has failed? Do we need an entirely new paradigm? What might that be?

Showing a graphic of how we are crossing our planetary boundaries. From Stockholm Resilience Centre.
Crossing our planetary boundaries. From Stockholm Resilience Centre.

From declaring an emergency…

Part of what that much-needed change might be is captured in the increasing presence of ‘regenerative’ in debates over the transition to a better, cleaner, more ecologically balanced and socially equitable future lived safely within planetary boundaries. And one part of that shift has been work that I’m excited to be associated with through UK Architects Declare.

That movement has been gaining momentum and reputation since long before I joined, part-time, as AD’s manager in 2021. The initiative’ was launched in May 2019 by Michael Pawlyn, founder of Exploration Architecture, and Steve Tompkins of architectural practice HaworthTompkins. As Michael put it at AD’s 5th birthday party last month, back in late 2018 he and Steve had a gloomy couple of pints together as they contemplated the latest and most depressing report from the Intergovernmental Panel on Climate Change and how little concern there seemed to be in the architectural profession. They engaged a small group to organise a declaration of climate and biodiversity emergency. Their website very quickly attracted its first few hundred signatories and caught the imagination of the profession — not least because of its insistence on the need for change in our systems, not just (but also) in our behaviours. The declaration promoted a theory of change drawing on the work of Donella Meadows, who showed how the most effective way to change a system is through its higher ‘leverage points’: the paradigm behind the system and the mindset that sustains it, and the goals the system drives all of us towards.

Showing UK Architects Declare - regenerative design

This interest rapidly accelerated and expanded, spawning many related declarations across the built environment sector, around the UK and the globe. Today, more than 8,000 organisations have signed declarations in 28 countries under the banner of Built Environment Declares, and many other sectors have made their own declarations — including, of course, Culture Declares. 

‘When AD started, pretty much no one outside of Sweden had heard of Greta Thunberg, Extinction Rebellion had yet to hit the headlines, Doughnut Economics had only recently been published, the WellBeing Group of Governments had yet to form, China had yet to announce a date for decarbonisation, the idea of a Law of Ecocide, the Rights of Nature, or Future Generations legislation were all seen as distant dreams. And yet since then a lot of governments have actually implemented them.

‘And one area where I think all of us as signatories can enjoy some credit: five years ago hardly anyone was talking about regenerative design, and now everyone is. That’s something we’ve all created together — the potential for architects to reclaim our agency as shapers of the future, as integrators and systems thinkers, as people who want to be able to proudly look our children in the eye in ten years time and say “Yes, I saw this coming and this is what I did about it.”’

— Michael Pawlyn

UK Architects Declare works on a dual approach: providing practical support to its signatory practices so they can implement their 12-point declaration while operating in the current flawed economic and social system; and demonstrating how the system can be changed to one that works within our planetary boundaries and deliver social and environmental justice. The point, as Meadows demonstrated, is not to feed the paradigm that’s created our emergency by merely tinkering at its margins, but to build a new paradigm — in this case, based on regenerative rather than degenerative principles.

… to regenerative design for a better future

In its latest work, AD has developed a set of policies — Building Blocks — to transform the built environment, and guidance for architects and urban designers in a ‘work in progress’ Regenerative Design Primer. And, working with media partner Architecture Today, it has launched a new community initiative, the Regenerative Architecture Index. The Index will bring together, learn from and promote examples of regenerative activity at two levels: the practice and its projects. The Building Blocks address the need for government policies for resource efficiency, circular economy and social and natural infrastructure. These are based on foundations of climate literacy and climate leadership, alignment with well-being and planetary limits, and safeguarding future generations’ ability to act. Meanwhile, both the Primer and the Index promote clear principles for designers and businesses in the built environment sector: being a good ancestor, co-evolving with nature, and creating a just space for people.

Showing the Regenerative Design Primer, from UK Architects Declare 2024
Regenerative Design Primer, UK Architects Declare 2024

Being a good ancestor is about a shift in mindsets to consider the truly long-term: thinking seven generations ahead and ensuring adaptability and flexibility for the future. 

Co-evolving with nature is about recognising that we’re part of nature, within integral living systems, not separate from it: actively regenerating, learning from and working with natural systems. 

Creating a just space for people is about providing social connection, economic opportunity and wellbeing for all: fostering a shared sense of stewardship where neighbourhoods can self-organise and build their resilience.

Together, these principles require innovative thought, designing for circularity and encouraging closed-loop energy, material and water cycles, and adopting ethical, inclusive and participative approaches.

The Primer makes a distinction between adopting these principles and continuing with the now conventional approach. Regenerative design transcends ‘sustainability’ in three key ways:

  1. From being ‘less bad’ to being net positive.
  2. From being just focused on humans to considering the whole web of life.
  3. From a mechanistic approach that can focus too exclusively on carbon (‘carbon reductivism’) to a more holistic and systemic approach.

Regenerative design mimics natural ecosystem processes, which keep cycling and transforming materials and grow healthier and more diverse ecosystems. It uses a systems approach to create resilient and equitable systems that integrate the needs of society with those of nature. This means looking beyond the boundary of a project or a specific site. By doing so, it delivers positive environmental and social outcomes, ensuring both human and planetary health.

— Regenerative Design Primer (p8)

Showing the logo for the Regenerative Architecture Index, from UK Architects Declare and Architecture Today © 2024
The Regenerative Architecture Index, from UK Architects Declare and Architecture Today © 2024

Just as the May 2019 AD declaration of planetary emergency quickly attracted more support than the founders initially anticipated, in May 2024 the first iteration of the Regenerative Architecture Index gained an encouraging number and diversity of entries. Architecture Today and UK Architects Declare will be announcing the scheme’s inaugural results next month, with a special celebratory event and issue of AT’s magazine. AD will then work with participants to take a deep dive into their experiences and ideas. That learning, with feedback on the Regenerative Design Primer, will cycle directly into the next iterations of both Primer and Index next year, and no doubt spark new policy work and other initiatives.

Creative agency for change

For me, witnessing and supporting the huge amount of voluntary work that dedicated professionals — across AD’s steering group and others in small groups working to support architectural practices and engage policymakers — is energising and motivating. And the mounting realisation that not only do we need a new, positive paradigm but that one is possible and is actually being demonstrated is empowering and generates practical hope.

Another key distinction between regenerative and sustainability-driven approaches to change is that it is inherently creative: it calls on us to expand and engage our imaginations and to help design the difference we want to see. It is also an exercise in humility, recognising the world beyond our own self-centred horizons and timescales and drawing inspiration from others — human and more-than-human, and an enhanced sense of what the future can be and how its inhabitants too can flourish.

When I set up ClimateCultures in 2017, after working with the charity TippingPoint on immersive events for artists and scientists to explore creative responses to the emergency, it was out of a sense that to create change that seems hard or impossible, we need at least two things above all: a sense of agency and a sense of community or association. As I wrote in an article on ClimateCultutes, agency for change and the environmental imagination:

“We need to feel we can do something meaningful and that others are on board. Of course, we also need action itself, and increasing awareness of the problems. And these things are all interrelated: action, association, agency, awareness. Sometimes it’s personal action that comes first, providing the spark to taking more action as part of a community; these experiences help to grow both our personal and shared awareness of the issues, leading to yet more action, and so our agency builds and builds. It can be a virtuous circle, rather than the vicious cycle of frustration, disappointment and despondency.

“If there’s one thing that helps drive this virtuous circle and motivates change, I think it’s imagination. A sense that things can be different, that there are other ways of acting and living than we now take for granted. Even if we don’t know how to enact these differences, imagination gives us a new picture, casts new light on the old picture, or helps us realise that other people who we’ve barely acknowledged until now have pictures to share with us. Imagination is both an exploration and expansion of our horizons.”

As Culture Declares says, “culture can help stir up human response as well as breaking old habits and creating new stories and visions for our world … culture is what humans – and other species – do to create conditions for life to thrive. We can think in a new way about Culture as organised activities, so that we can create a Regenerative culture.”

Many ClimateCultures members and readers will also be signatories to Culture Declares or other declarations — Heritage Declares, Design Declares, and so on. And ClimateCultures would love to share your stories, examples and experiences. How does your work as an artist, researcher or curator draw on or inspire regenerative paradigms or goals? What creative works inspire you? How do you respond to the emergency and the history of sustainability-led approaches to tackle it? Where next?


Find more

You can find the original definition of Sustainable Development and much else about how it’s being implemented at the United Nations Sustainable Development pages. 

The Stockholm Resilience Centre has produced several reports on its planetary boundaries work. This has also been adapted by Doughnut Economics Action Lab to promote the need for a social foundation that ensures no one is left falling short on life’s essentials, as well as an ecological ceiling to ensure that humanity does not collectively overshoot the planetary boundaries.

Donella Meadows published her highly influential paper Leverage Points: Places to Intervene in a System in 1999.

Michael Pawlyn has co-authored Flourish: Design Paradigms for Our Planetary Emergency with Sarah Ichioka, published by Triarchy Press (2021). They also host an excellent series of podcasts on the book’s themes.

You can find the Regenerative Design Primer and information on the Regenerative Architecture Index, as well as the Building Blocks manifesto and many other resources at UK Architects Declare. If you work for or with, or know people within architectural or other construction-related organisations, have they signed a shared declaration of climate and biodiversity emergency? You can find these at Built Environment Declares. Other declarations include Culture Declares, Heritage Declares, Design Declares and Business Declares.

You can read ClimateCultures, agency for change and the environmental imagination at my site. You might also like this 2017 post on a free ecololinguistics course that looks at the power of words such as ‘growth’ over our imaginations: The Stories We Live By. 

Mark Goldthorpe
Mark Goldthorpe
An independent researcher, project and programme manager on environmental and climate change issues - investigating, supporting and delivering cultural and creative responses to our predicaments.