Climate Inheritance is a speculative design research publication that reckons with the complexity of world and heritage in the Anthropocene. The impacts of climate change on heritage sites-from Venice flooding to extinction in the Galįpagos Islands-have garnered empathetic attention in a media landscape that has otherwise failed to communicate the urgency of the climate crisis.
In a strategic subversion of the media aura of heritage, DESIGN EARTH casts ten World Heritage sites as narrative figures to visualize pervasive climate risks-rising sea levels, extinction, droughts, air pollution, melting glaciers, material vulnerability, unchecked tourism, and the massive displacement of communities and cultural artifacts-all while situating the present emergency within the wreckages of other ends of world, replete with the salvages of extractivism, racism, and settler colonialism. The possibilities of such climate inheritances are narrated in drawing triotvchs and mythologies that bequeath other worlds and values.
With Contributions of Lucia Allais, David Gissen, Rodney Harrison and Colin Sterling
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The metonymic logic of preservation, as in Superstudio’s “Salvages of Italian Historic Centers” (1966) provided a compelling framework through which to think today of destruction, media, and value. Heritage sites belong to a collective imaginary. For the many people who have never been or will never go to Venice, photographs of a flooded city and the figures of submerged monuments embody or point to the threats of the climate crisis, offering some representational legibility of the unfathomable destruction of planetary systems. When Venice floods, the world reacts with calls to donate, and act. Put differently, the media persona of heritage sites can do work for the world. If we imagine a Russian doll figure that nests monument, city, and world, then a World Heritage site could, for the time of a story, stand for the world, which itself stands for all that is being destroyed by changes in the climate.
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