Green architecture, which is typically referred to as sustainable architecture or ecological design, is the discipline of planning and creating structures with an emphasis on environmental sustainability. As the globe grapples with the pressing need to address climate change and cut carbon emissions, the role of innovative green architecture becomes more and more important.
The impact of new green architecture on building a lower carbon future has been substantial. First and foremost, green buildings have the potential to reduce energy consumption significantly. Integrating energy-efficient technologies such as solar panels, intelligent lighting systems, and passive design principles can drastically decrease the carbon emissions associated with building operations.
The incorporation of nature into urban environments is increasing in popularity, giving rise to concepts like biophilic design. Green architecture, which incorporates natural components such as green roofs, indoor plants, and natural ventilation systems, can improve human well-being and productivity while lowering the need for artificial heating and cooling.
Notable people in sustainable architecture
Green architecture fosters sustainable urban development by focusing on low-impact design practices. A notable planner like Jan Gehl has played a crucial role in advocating for pedestrian-friendly cities, reducing reliance on cars, and promoting public transportation by creating walkable and bike-friendly neighborhoods. By prioritizing walking and cycling over private vehicles, Gehl aims to reduce air pollution and decrease reliance on fossil fuels. His work in transforming the streets of Copenhagen, turning them into vibrant pedestrian zones, has served as a blueprint for other cities worldwide. Through this approach, Gehl ensures that people can move freely and enjoy their urban environment while minimizing their carbon footprint, contributing to a lower carbon future.
Green architecture also addresses the issue of material waste and resource depletion. Architect and designer William McDonough and chemist Michael Braungart introduced the concept of cradle-to-cradle design, which promotes the use of materials that can be recycled or decomposed. This approach ensures that resources are not depleted in the long run and that waste is minimized.
Awareness?
There is a massive need for education and awareness. Architecture and engineering curricula must include sustainable design principles to ensure that future professionals are equipped with the necessary skills and knowledge- policymakers should incentivize green building practices through legislation, tax incentives, and subsidies to encourage widespread adoption.
As for future developments, the integration of smart technologies holds significant promise. The advent of the Internet of Things (IoT) and Building Information Modeling (BIM) can enable buildings to become more efficient by monitoring occupancy, energy usage, and indoor air quality in real-time. These advancements can further optimize energy consumption and minimize waste.
A Journey into the Future of Green Architecture
New green architecture has the potential to contribute significantly to building a lower carbon future. However, challenges such as initial costs and the need for education and awareness must be overcome. Looking to the future, advancements in smart technologies and the integration of nature in urban settings offer a promising path towards a greener and more sustainable future. The role of new green architecture is paramount in achieving our goal of a lower carbon future, and collective efforts from governments, professionals, and individuals are necessary to realize this vision.
The year is 2050, and the world has entered a new era of consciousness towards environmental preservation and sustainable living. With the pressing need to mitigate the effects of climate change and create a harmonious coexistence between humans and nature, green architecture has emerged as the forefront solution for a sustainable future.
Embarking on a journey into the future, we find ourselves surrounded by a landscape that perfectly blends the built environment with the natural world. As we approach cities, towering skyscrapers covered in lush vegetation rise against the skyline, creating a stunning panorama of sustainability and innovation. These green buildings are the epitome of environmentally conscious architecture, aiming to minimize the carbon footprint, enhance the quality of life for residents, and preserve the Earth for future generations.
In contemporary society, popular magazine publications wield considerable influence in shaping societal norms, particularly in the realm of self-image. Since its founding in 1892, Vogue (considered the titan of all magazine publications) has had a significant role in influencing global ideals of beauty and fashion. The magazine has had a big impact on how people view beauty and the ideal figure over the years and like many other fashion magazines, they have a history of using tall, slim, and mostly white models, which has led to a limited and frequently unrealistic conception of beauty. Magazines such as Vogue and Elle, known for their pervasive presence in both fashion and lifestyle industries alike, play a significant role in dictating the standards and ideals associated with our bodies. Over time, we’ve been able to see somewhat of a change in the types of bodies we see both on the cover and within these publications. This essay will critically examine how these publications present ‘the body’ both now and in the past and the standards they heavily promote.
In order to understand the development of body presentation in magazines, it is essential to explore its historical context. Magazines gained prominence in the late 19th and early 20th centuries, becoming an integral part of popular culture and communication. These publications were initially created to provide entertaining and informative content, but over time, they began incorporating beauty and fashion segments. During the early 20th century, magazines like Vogue and Harper’s Bazaar emerged as influential platforms that set the tone for beauty standards. Through captivating articles, editorials, and advertisements, these magazines began showcasing a specific body ideal that often prioritised thinness and white femininity.
Twiggy Vogue 1967, Photo by Cecil Beaton
The 1960s and 1970s brought about the era of the supermodel, with magazines like Vogue featuring tall, slender, and angular women who personified beauty. The concept of the “model figure” became highly coveted among women. One key figure associated with the presentation of body standards in magazines is Diana Vreeland. As the editor-in-chief of Vogue from 1963 to 1971, Vreeland significantly influenced the fashion and beauty narrative. Known for her imaginative editorials and emphasis on creativity, Vreeland played an instrumental role in promoting unconventional beauty standards. She famously showcased models like Twiggy and Veruschka, challenging the prevailing norms of curvaceousness and traditional femininity. Vreeland’s work exemplified how magazines could redefine beauty ideals and push boundaries.
However, the impact of magazines on body presentation has not always been positive. The proliferation of unrealistic beauty standards in magazines has perpetuated body dissatisfaction, eating disorders, and low self-esteem among individuals. The constant exposure to images of flawless and airbrushed bodies has created unattainable beauty goals for many, leading to a distorted perception of one’s own body. This negative impact on mental health and body image has been well-documented and remains a concern in contemporary society.
The decade of the 2000s marked an undeniable turning point in the narrative. Body positivity movements and a growing awareness of the negative impacts of unattainable beauty standards began to take the stage. Magazines responded to this transition by featuring models of various body shapes, sizes, and ethnicities. The emphasis on variety attempted to deconstruct popular beauty norms, urging readers to accept their individuality and find beauty in all body types. In recent years, there has been a movement in magazine coverage towards encouraging body positivity and diversity. Influential people like Ashley Graham and Tess Holliday have defied traditional beauty standards by gracing the covers of influential magazines. These women, who do not conform to the typical sample-size model, have empowered others to embrace their bodies and reject societal expectations of perfection. This inclusive representation in magazines has provided a platform for diverse bodies to be celebrated and admired.
As we look towards the future, it is essential to consider potential developments related to the presentation of body standards in magazines. One promising trend is the rise of independent magazines that focus on body positivity and representation. Publications like “Glamour” and “Darling” have embarked on a mission to showcase a range of body types, ethnicities, and ages, fostering inclusivity in the media landscape. Through thought-provoking articles and empowering visuals, these magazines create space for marginalized voices, challenging the industry’s narrow beauty standards. The emergence of such publications indicates a growing demand for more diverse and realistic representations of the body.
While progress has been made in challenging traditional beauty standards, it is crucial to recognize that the impact of magazines extends beyond their immediate audience. These publications influence not only individuals but also the fashion industry, advertising agencies, and societal norms at large. When magazines perpetuate unrealistic beauty ideals, they contribute to a culture that constantly evaluates and judges bodies, reinforcing harmful stereotypes and discriminations. It is essential for magazines to take responsibility for the images and messages they disseminate, ensuring that representation is inclusive and diverse, promoting healthy body image and self-acceptance.
Futhermore, magazines have played a significant role in shaping societal standards of body image and promoting specific beauty ideals. Throughout history, influential figures (such as aforementioned Diana Vreeland) have redefined and pushed boundaries when it comes to presenting the body in magazines. However, while some progress has been made towards body positivity and inclusivity, there are still persistent negative impacts on individuals’ mental health and body image. The future holds the potential for further development in challenging traditional standards and fostering more diverse representations. It is imperative for magazines to continue evolving and promoting positive body image, creating a more inclusive and accepting society.
Traditionally, magazines would often adhere to a limited and idealised standard of beauty- with an emphasis on thinness with popular magazine publications such as Vogue who would not dare to have a plus sized woman on their cover. Many magazine publications have been chastised for pushing an often unrealistic and unattainable body image- with the constant usage of skinny models helping to perpetuate a specific body ideal, which isn’t necessarily representative of the variety of body forms in the real world. These publications play a crucial role on how people perceive their own bodies and, in many cases, the overexposure to images of skinny, airbrushed models lead to a distorted body image perception in which people discount their own attractiveness and worth based on unrealistic media standards.
Ultimately, Insecurity is a billion-dollar business that thrives from exploiting and fostering people’s insecurities and whilst this concept can be observed in various sectors, it’s largely seen within beauty and fashion. According to a study conducted in Perth, Australia, teenage girls report having negative body image comparisons when they looked at photos on social media. The appearance-based anxiety harboured by these adolescent girls was thought to be exacerbated by looks comparisons, which also encouraged them to modify their appearance and turn to social media for approval. ‘The importance of awareness and education from a younger age about social media and its influence on body image was emphasized, as was the need for strategies to promote positive body image and counteract negative body image’ (Papageorgiou, A., Fisher, C. & Cross, D, 2022).
THE WELLNESS INDUSTRY
This goes hand in hand with the problems within the wellness industry, which is often regarded as a haven for natural healing and self-care and is, unfortunately, is not immune to racism’s insidious hold. While encouraging balance and well-being, the sector has been tainted by structural problems that support racial inequities and is largely seen as a sector that upholds the needs of white women before anybody else’s.
It is necessary to recognise the historical background in order to comprehend racism in the wellness sector. Numerous cultures’ traditional methods and cures, particularly those originating from non-Western traditions, have frequently been taken and commercialised without due acknowledgement. This erasure contributes to the marginalization of non-white voices and reinforces the dominance of Eurocentric ideals in the wellness landscape.
The wellness industry has transformed self-care into a commodity, commodifying practices that should be accessible to all. Magazines heavily profit by promoting an array of expensive products, spa retreats, and exclusive health trends, creating an exclusive industry accessible only to those with financial means. Disproportionately impacting marginalized communities, this reinforces socioeconomic inequalities and perpetuates the divide between individuals who can afford wellness and those who cannot, ultimately hindering efforts towards holistic well-being. This is known as the commercialisation of self-care. Gonsalves K interviews a black woman working in the wellness industry to which she says “I [she] continue[s] to be one of the “only” in wellness. I continue to feel like a Black unicorn that no one believes really exists until they meet me. I am the only person of color…”.
The preoccupation with whiteness within the wellness industry also extends to body size and weight, inadvertently promoting harmful ideals. For instance, the emphasis on being thin as the epitome of wellness disregards the inherent diversity of body shapes and sizes across cultures. Individuals belonging to non-white communities often experience double discrimination, as the intersection of race and body size leaves them feeling alienated and misrepresented. This narrow focus can contribute to distorted body images, low self-esteem, and even the development of eating disorders.
This reiterates the Illusion of (Un)Attainable Beauty. As I browse through a popular wellness magazine, my eyes are bombarded by images of flawless skin, slender bodies, and glossy hair. It becomes evident that these representations predominantly feature white models, reinforcing an unattainable standard of beauty that is exclusionary to individuals from diverse racial backgrounds. The lack of representation perpetuates an overarching narrative that associates beauty with whiteness, leaving those who don’t fit this mold feeling marginalized and inadequate. Especially the younger, impressionable girls of colour who grow up in a world where they hardly see themselves portrayed.
The lack of representation of people of color in wellness spaces is another example of the racism that runs rampant in the industry. Whether in promotional materials, wellness retreats, or advertisements, the overwhelming focus on white individuals reinforces exclusivity and sends a message that wellness is primarily for a certain demographic. This lack of representation extends to the accessibility of wellness services and products, disproportionately impacting marginalised communities. As society becomes more critical, issues such as this are being addressed a lot more. Feminist, wellness coach and writer Chrissy King calls for the intersectionality of the wellness space on a podcast stating that “White Supremacy [is the culprit]. Our bodies are not the problem” (Chrissy King, 2023)
THIRD WAVE BODY POSITIVITY?
The year 2012, we are introduced to what is described as a “third wave” of body positivity. The body positive movement has gained momentum massively in recent years, challenging traditional beauty standards and simultaneously promoting the acceptance of diverse body shapes, sizes, and appearances. While the movement has primarily taken root in social media and online platforms, it has also influenced various industries, including the world of magazines. It has been described by Vogue columnist Yeboah as “a movement spearheaded by larger fat, black and ethnic minority women” (Yeboah, 2020)
The body positivity movement in magazines has had a profound impact on society, challenging the status quo and promoting inclusivity and self-acceptance. One of the primary contributions of this movement has been the diversification of beauty standards. Magazines started featuring models and individuals who did not fit into the conventional mold of thinness and perfection, showcasing a more realistic representation of body types. This shift in imagery has helped normalize bodies that were previously marginalized, fostering a sense of inclusivity and creating a positive impact on people’s self-esteem and body image.
Ashley Graham, a renowned plus-size model, has made significant contributions to the body positivity movement. She graced the covers of several prominent magazines, including Vogue and Sports Illustrated, breaking barriers and challenging societal beauty standards. Graham’s success has not only opened doors for other plus-size models but also played a pivotal role in shaping the narrative around body acceptance. By radiating confidence and self-love, she has become an icon for women around the world, inspiring them to embrace their bodies.
In addition to individual influencers, magazines themselves have played a crucial role in the body positivity movement. Publications such as Glamour, Cosmopolitan, and Allure have actively showcased diverse body types and featured articles that celebrate self-acceptance and body positivity. By promoting positive messages and providing a platform for discussions around body image, these magazines have contributed to the ongoing cultural shift towards a more inclusive society. The normality of having an array of body sizes and races was something much needed by the industry, especially in current times.
It’s safe to say that the way popular magazine publications promoted the body have changed for the better. Notably, Anna Wintour (long-term editor-in-chief of Vogue) and Edward Enninful (editor of British vogue), have played a significant role in shaping the narrative of beauty and fashion. They have both championed diversity within the industries whether that be race or body type- broadening the magazine’s representation of women’s bodies.
Looking forward, future developments in the portrayal of women’s bodies in magazines may continue to steer toward more inclusive representations. With the rise of social media and the democratization of fashion and beauty content, magazines are challenged to adapt and cater to diverse audiences. Influencers and digital platforms offer alternative spaces where women can find representations that resonate with their own experiences, challenging traditional magazine beauty standards.
However, it is essential to acknowledge the limitations and criticisms associated with the body positivity movement in magazines. Some argue that the movement has been commodified, with brands and publications using it as a marketing strategy without genuinely committing to inclusivity and diversity. There have been instances where magazines have featured only a few ‘token’ plus-size models (Such as Ashley Graham) or individuals without fully addressing the core issues surrounding beauty standards.
To ensure genuine progress, the body positivity movement in magazines should actively involve individuals from marginalized communities and promote intersectionality. Including people of all ethnicities, abilities, genders, and ages will contribute to a more comprehensive understanding of body acceptance. Moreover, magazines should commit to portraying bodies authentically, avoiding excessive photoshopping and airbrushing, which perpetuate unattainable ideals.
In conclusion, the body positivity movement in magazines has made significant strides in challenging conventional beauty standards and promoting inclusivity and self-acceptance. With the advent of the internet and the rise of social media, body positivity movements gained momentum. Magazines pivoted towards promoting self-acceptance and showcased women of all shapes, abilities, and ethnic backgrounds. Key figures such as Dove, Tess Holliday, Ashley Graham, and various magazines have played influential roles in diversifying beauty standards and reshaping the narrative around body image. While there are criticisms and limitations to be addressed, the movement’s impact has been undeniable. By considering various perspectives and analyzing the positive and negative aspects, we can continue to foster progress and envision a future where all bodies are celebrated in magazine media.
Papageorgiou, A., Fisher, C. & Cross, D. “Why don’t I look like her?” How adolescent girls view social media and its connection to body image. BMC Women’s Health22, 261 (2022).
The internet has grown in ways that no one could have predicted. What was once so inaccessible has now become so accessible, according to “How Many People Use The Internet? [2023]: 35 Facts About … – Zippia.” 12 Jan. 2023, https://www.zippia.com/advice/how-many-people-use-the-internet/.How Many People Use The Internet? [2023]: 35 Facts About … – Zippia, with 64.4% of the global population as users and 4.7 billion people on social media. It’s not unexpected that there are various niches and crannies all across the internet. One notable example is the world of stan culture.
‘Stan’. Eminem invented the term in 2000 as a portmanteu of the words “stalker” and “fan.” The term was originally intended to characterise obsessive fans of celebrities and entertainers, but it has now been redefined to refer to someone who is simply more invested than the average fan. While stan culture can be viewed as passionate support, it also has a bad side. Some stans exhibit toxic behaviours, such as cyberbullying and harassing other fans or critics. This tendency can lead to online confrontations known as “fan wars,” in which fans of various artists and fandoms clash.
There’s no doubt that every person has some of their personal information online, whether shared through social media or online communities. Regardless of where you are, there are all types of public records that may personally identify people, but that sometimes comes at a cost, especially if someone pieces your information together in the hopes of subjecting you to cyberattacks, hacking, and more. The increasing number of online vigilantism and cyberattacks is not unfamiliar to other K-pop fandoms and it is inevitable that they will continue to be treated as part of the people who have soft power (a persuasive approach with influence) in their hands. Boris Cipot, a high ranked security engineer at Synopsys, explained to “Meet The New Anonymous—100 Million BTS ARMY And K-Pop Stans … – Forbes.” 06 Sept. 2020, https://www.forbes.com/sites/daveywinder/2020/09/06/meet-the-new-anonymous-100-million-bts-army-and-k-pop-stans-a-cyber-threat-to-be-reckoned-with/. article, social media is a soft power that gives the chance for anybody to utilise.
One of the most popular areas of the internet where the term stan is highly linked with is the world of K-pop. Unhealthy parasocial interactions between celebrities and their fans are enabled by supporters’ fascination with superstars and their personal lives alike. A parasocial connection is one in which a person fantasises about having a relationship with someone they do not know, such as a celebrity or some imagined character.
Parasocial connections are common in K-pop because of the intense fandom culture and tight interactions between idols and followers made possible by numerous media channels of communication. Fans may have a strong emotional attachment to their beloved idols, even if the idols are not personally aware of their existence. This bond is reinforced by elements such as fan gatherings, concerts, social media contacts, and reality shows that reveal insights into the life of Kpop idols- thus making people overfamiliar with them, as if they know them in real life.
K-pop agencies and management businesses frequently invest in developing a bond between idols and followers. They use techniques such as fan club memberships, exclusive content, and fan events to make fans develop a connection to their favourite celebrities. As idols frequently share personal updates and connect with followers through various mediums such as, Twitter, Instagram, and V Live (a South Korean live streaming service), they play a crucial role in cultivating and harbouring these parasocial, and sometimes unhealthy, interactions.
While we welcome the discussion of mental health in modern society, it is crucial to recognise the mental health concerns that might occur because of the obsessive stan culture that many young people today are surrounded with. Intense parasocial relationships with K-pop idols can lead to depression, anxiety, and social withdrawal. It can also aggravate pre-existing mental health issues if people become unduly engrossed in the lives of these celebrities or experience a loss of control over their own emotions.
Whilst the toxicity of stan culture is prevalent in K-pop, it is definitely not restricted to it. These toxic extremes in the name of being a ‘fan’ can happen to all celebrities. On one extreme, you have the tragic story of musician Christina Grimmie who died in the hands of an obsessive fan whilst at her meet on greet on tour. A former “The Voice” contestant and Selena Gomez’s friend and backup vocalist, Grimmie was tragically slain by a gunshot wound on the 10th of June 2016, following her show in Orlando, Florida. http://i2.cdn.turner.com/cnn/2016/images/06/22/grimmie.investigative.supplement.pdf According to his friend, Despite following her on social media, Loibl did not have a Facebook, Twitter, or other social media accounts. It is believed that he thought if he couldn’t have her, no one should.
Whilst the internet is critical to distinguish between being a devoted fan and participating in poisonous stan culture. Fans can show their admiration in a healthy and respectful way without engaging in hazardous behaviour. To mitigate the bad consequences of stan culture, fan communities must promote kindness, empathy, and critical thinking.
