Aurelia Butler

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    in Environment

    Creating the steps to make organizational sustainability work

    Sustainability is a hot topic. Companies throw around their carbon or recycling initiatives, and competing executives feel the need to follow suit. But aside from the external pressure, there are also bottom-line benefits. Becoming more efficient can save money. Creating a new product might make money; customers care about a company’s practices and will spend their money based on that.

    The work is in getting there, because becoming sustainable can seem simple: Establish a goal for five years down the road, and everything will fall into place — but it’s easy for things to get upended. “There is so much confusion and noise in this space,” says Jason Jay, senior lecturer and director of the Sustainability Initiative at MIT’s Sloan School of Management.

    His work is to help companies break through the confusion and figure out what they want to actually do, not merely what sounds good. It means doing research and listening to science. Mostly, it requires discipline, and because something new — be it a product, process or technology — is being asked for, it also takes ambition. “It’s a tricky dance,” he says, but one that can result in “doing well and doing good at the same time.”

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    It’s about taking steps

    Three steps, to be exact. The first, which is the crux, Jay says, is for a company to focus on a small set of issues that it can take the lead on. It sounds obvious, but it’s often missed. The problem is that companies will do either one of two things. They’ll take an outside-in approach in which they end up listening to too many stakeholders, “get pulled in a million different directions,” and try to solve all of society’s problems, which means solving none of them, he says.

    Or they’ll go inside-out and have one executive in charge of sustainability who will do some internal research and come up with an initiative. It might be a good idea, but it doesn’t take into account how it will affect the facilities, supply chains, and the people who work with them. And without that consideration, “It’s going to be very difficult to get the necessary traction inside the company,” Jay says.

    What’s needed is a combination of the two — outside perspectives coupled with insider knowledge — in order to find an initiative that resonates for that company. It starts with looking at what the company already does. That might show where it’s making a negative impact and, in turn, where it could make a positive one. It also involves the C-suite executives asking themselves, “What do we want this company to stand for?” and then, “What do I want my legacy to be?”

    Still, it can be hard to envision what change can look like or what actions might have an impact. Jay says this is where a simulation tool like En-ROADS, developed by MIT Sloan and Climate Interactive, can help explore scenarios.

    But it’s ultimately about making a commitment and allowing an iterative process to play out. A company then discovers its true focus might be something less flashy. Nike early on, for example, found that a huge source of greenhouse gas emissions was sulfur hexafluoride gas in the Nike Air bladder. When they re-engineered it, they ended up with inert nitrogen and a stronger material that was aesthetically cool and lightweight for the athlete. That didn’t come in one brainstorming meeting. It meant doing research and looking at what the science says is possible. It’s not quick, but it also shouldn’t be, if the goal is to take real, measurable action.

    “Cheap talk leads to cheap things,” Jay says. 

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    The next two

    Deciding what matters is key, but nothing materializes without establishing concrete goals. This is where a company “shows the world you’re serious.” But it’s a place where companies slip up. They either set weak goals, ones they know they can easily reach, so there’s no challenge, no accomplishment, “no stretch,” Jay says. Or they set goals that are too ambitious and/or aren’t backed by science. It could be, “We’re going to be net zero by 2050,” but how exactly is never answered.

    Jay says it’s about finding the sweet spot of having a reasonable amount of goals — like two to four — and then have those goals feel like a reach, yet possible. When that balance is right, it becomes a self-fulfilling prophecy. People stay motivated because they experience progress. But if it’s off, it won’t happen.

    “You need that optimal creative tension,” he says.

    And then there’s the third step. Companies need to find partners to make their sustainability programs succeed. It’s the one part that’s most overlooked because executives continually believe that they can do it alone. But they can’t, because big initiatives require help and expertise outside of a company’s realm.

    Maersk, the global shipping company, has a goal of replacing fossil fuel with green fuels for ocean freight, Jay says. It discovered that green ammonia could make that happen, and it was Yara, a fertilizer company, which best understood ammonia production. But it could also be a startup that’s working on a promising technology. Sometimes, as with moving to electric cars, what’s needed are political partners to enact policy and offer tax breaks and incentives. And it might be that the answer is collaborating with activists who have been pushing a company to change its ways.

    “There are strange bedfellows all around,” Jay says.

    Know how to tap the brake

    All the steps circle back to the essential point that becoming sustainable takes a committed investment of time, money, and patience. Starting small helps, especially in a corporate culture that tends to move slowly. Jay says there’s nothing wrong with going from zero projects to one, even if it’s a small one in a specific department. It allows people to become accustomed to the idea of change. It also lets the company establish a framework, analyze results, and build momentum, making it easier to ramp up.

    The patience part can be hard since there’s a rightful sense of urgency involved. Companies want to show that they’re doing something, and want to affect climate change sooner rather than later. But Jay likens it to building a skyscraper. The desire is to get it up fast, but if the foundation is shaky, everything will crumble.

    “What we’re trying to do is strengthen that foundation so it can reach the height we need,” he says. More

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    in Environment

    Aviva Intveld named 2023 Gates Cambridge Scholar

    MIT senior Aviva Intveld has won the prestigious Gates Cambridge Scholarship, which offers students an opportunity to pursue graduate study in the field of their choice at Cambridge University in the U.K. Intveld will join the other 23 U.S. citizens selected for the 2023 class of scholars.

    Intveld, from Los Angeles, is majoring in earth, atmospheric, and planetary sciences, and minoring in materials science and engineering with concentrations in geology, geochemistry, and archaeology. Her research interests span the intersections among those fields to better understand how the natural environments of the past have shaped human movement and decision-making.

    At Cambridge, Intveld will undertake a research MPhil in earth sciences at the Godwin Lab for Paleoclimate Research, where she will investigate the impact of past climate on the ancient Maya in northwest Yucatán via cave sediment records. She hopes to pursue an impact-oriented research career in paleoclimate and paleoenvironment reconstruction and ultimately apply the lessons learned from her research to inform modern climate policy. She is particularly passionate about sustainable mining of energy-critical elements and addressing climate change inequality in her home state of California.

    Intveld’s work at Cambridge will build upon her extensive research experience at MIT. She currently works in the McGee Lab reconstructing the Late Pleistocene-Early Holocene paleoclimate of northeastern Mexico to provide a climatic background to the first peopling of the Americas. Previously, she explored the influence of mountain plate tectonics on biodiversity in the Perron Lab. During a summer research position at the University of Haifa in Israel she analyzed the microfossil assemblage of an offshore sediment core for paleo-coastal reconstruction.

    Last summer, Intveld interned at the National Oceanic and Atmospheric Administration in Homer, Alaska, to identify geologic controls on regional groundwater chemistry. She has also interned with the World Wildlife Fund and with the Natural History Museum of Los Angeles. During her the spring semester of her junior year, Intveld studied abroad through MISTI at Imperial College London’s Royal School of Mines and completed geology field work in Sardinia, Italy.

    Intveld has been a strong presence on MIT’s campus, serving as the undergraduate representative on the EAPS Diversity, Equity, and Inclusion Committee. She leads tours for the MIT List Visual Arts Center, is a member of and associate advisor for the Terrascope Learning Community, and is a participant in the Addir Interfaith Dialogue Fellowship.

    Inveld was advised in her application by Kim Benard, associate dean of the Distinguished Fellowships team in Career Advising and Professional Development, who says, “Aviva’s work is at a fascinating crossroads of archeology, geology, and sustainability. She has already done extraordinary work, and this opportunity will prepare her even more to be influential in the fight for climate mitigation.”

    Established by the Bill and Melinda Gates Foundation in 2000, the Gates Cambridge Scholarship provides full funding for talented students from outside the United Kingdom to pursue postgraduate study in any subject at Cambridge University. Since the program’s inception in 2001, there have been 33 Gates Cambridge Scholars from MIT. More

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    in Environment

    Taking the long view: The Deep Time Project

    How would we design and build differently if we learned to live at multiple time scales? How would human communities respond to global challenges if the short-term mindset of contemporary life was expanded to encompass new dimensions of past and future — diving into the depths of geological history and projecting forward to imagine the consequences of our actions today?

    These are questions that Cristina Parreño Alonso addresses in her practice as an architect, artist, and senior lecturer in the MIT Department of Architecture. Her field of research, which she has termed “Transtectonics,” explores the cultural and environmental implications of expanded temporal sensibilities in architectural material practice. A building, Parreño argues, is a “material event,” part of a process of construction and deconstruction that is shaped by the past and directly impacts the future — an impact that has become all the more apparent in the epoch of the Anthropocene, in which humans have become the dominant force influencing the physical composition and regulating systems of the planet.

    Parreño’s classes at MIT have included design studios that position architecture in relation to geological processes, and historical surveys of building practices that embrace traces of time and rhythms of maintenance. She recently devised a new class, 4.181 (The Deep Time Project), which launched in fall 2022 with the support of a 2022 Cross Disciplinary Class Grant from the MIT Center for Art, Science and Technology (CAST), in addition to the d’Arbeloff Fund for Excellence in Education.

    Learning deep time literacy

    “The course proposes that architects must develop deep-time literacy if we are to become true planetary stewards,” says Parreño. “Rather than attempting to identify solutions, the course is intended to provoke new ways of thinking that lead to greater accountability — a recognition that we, as architects, are intervening in something larger than ourselves, and that the consequences of our actions extend far beyond the timescales of our human lives and civilizations.” The class, which was offered to master’s students in the School of Architecture and Planning and the Harvard Graduate School of Design, culminated in a series of “material essays” that seek to bring deep time into contemporary consciousness. These multimedia projects — which include physical prototypes, text components, sound, and video  — are on display until March 24 at the Wiesner Student Art Gallery.

    “Being part of the exhibition has made me realize the advantages of belonging to a collective that recognizes the urgency of addressing the idea of time at different scales,” says architecture master’s student Christina Battikha, whose material essay “Plastic Time” imagines a future when plastic is integral to the geological structure of the Earth. Envisioned as a jagged plastic “rock,” the sculpture interprets the ubiquitous synthetic material as a natural phenomenon, a human-made product that far outlasts a human lifespan.

    Taking the form of a clay “Rosetta Stone” inscribed with multiple languages, architecture student Tatiana Victorovna Estrina’s material essay explores how the evolution of language impacts the built environment. “My project identifies a gap of imagination in deep time research,” she explains. “The installation became a futuristic exploration of opportunities for the adaptive relationship between the human body and its prosthetic additions of language and architecture.”

    Provocative perspectives

    “Developing the class here at MIT grants us the capacity to hold conversations across disciplines,” says Parreño. “That’s all the more necessary, because deep time literacy requires a very holistic way of thinking; it raises awareness of the fact that we are inherently interconnected, and makes it clear that we can’t afford to operate in compartments.”

    This attention to interdisciplinarity is exemplified by the guest speakers invited to share their ideas with the class, each providing a new way of accessing the deep time paradigm. Among the speakers were Marcia Bjornerud, a structural geologist and educator who argues that a geologist’s temporal perspective can empower us to make decisions for a more sustainable future. Richard Fisher, a senior journalist at the BBC, and Bina Venkataraman, journalist and author of “The Optimist’s Telescope: Thinking Ahead in a Reckless Age,” both shared their experiences of engaging the public in the perils of short-term-ism and the positive effects of taking the long view in daily life. The historian of science Jimena Canales provided a philosophical background to the conundrums of time perception, citing the renowned debate between Albert Einstein and the philosopher Henri Bergson.

    Alongside these large-scale thinkers and academic researchers were practitioners who directly apply planetary perspectives at a local level. Joseph Bagley is Boston’s city architect, investigating the layers of time that constitute the urban fabric. Faries Gray, the sagamore of the Massachusett Tribe at Ponkapoag, advocates for Indigenous ways of knowing that recognize the continuity between human cultures and the living history of the land. Together, these different ways of relating to deep time offer a toolkit for contemplating a concept too large to be held in the human mind.

    Thinking through art

    Parreño’s own way of conceptualizing deep time is informed by her artistic and philosophical inquiry into the paradoxes of time, tectonics, and materiality. Exhibited at the Schusev State Museum of Architecture in Moscow, her installation Tectonics of Wisdom focused on the typology of the library as a way of demonstrating how architecture is intertwined with geological and civilizational history. Carbon to Rock, shown at the 2021 Venice Architecture Biennale, explores new artificial manipulations of the geological timescales of the carbon cycle, rethinking igneous rocks as a resilient material for high-carbon-capture architecture. In addition, Parreño has published several essays on the subject of deep time for journals including Strelka Magazine, Log, and JAE Journal of Architectural Education. Her work as a writer and theorist is complemented by her art installations — or material essays — that serve as a research methodology and a means of communication.

    Likewise, the exhibition component of the Deep Time Project is a way of giving thoughts physical form. Estrina’s installation was initially prompted by the need to communicate the presence of buried nuclear waste to future generations — or even future species. Battikha’s sculpture is a response to the vast buildup of plastic generated by cycles of supply and demand. However, rather than making value judgements or condemning human actions, these works are intended to disrupt conventional patterns of perception, experimenting with longer-term perspectives that have the potential to change ingrained assumptions and daily habits. “There needs to be a paradigm shift before we can effectively address the enormity of the challenges ahead,” says Parreño. “The Deep Time Project is about taking a step back, reframing these problems in ways that will allow us to ask the right questions.” More

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    in Environment

    Q&A: Tod Machover on “Overstory Overture,” his new operatic work

    Composers find inspiration from many sources. For renowned MIT Media Lab composer Tod Machover, reading the Richard Powers novel “The Overstory” instantly made him want to adapt it as an operatic composition. This might not seem an obvious choice to some: “The Overstory” is about a group of people, including a wrongly maligned scientist, who band together to save a forest from destruction.

    But Machover’s resulting work, “Overstory Overture,” a 35-minute piece commissioned and performed by the chamber ensemble Sejong Soloists, has come to fruition and will have its world premiere on March 7 in Alice Tully Hall at New York’s Lincoln Center. Opera superstar Joyce DiDonato will have the lead role, with Earl Lee conducting. On March 16, the piece will have its second performance, in Seoul, South Korea. MIT News recently talked to Machover about his original new work.

    Q: How did you get the idea for your new work?

    A: I’ve been a fan of Richard Powers’ novels for a long time. He started out as a musician. He’s a cellist like I am, and was a composer before he was a writer, and he’s also been deeply interested in science for his whole career. All of his novels have something to do with people, ideas, music, and science. He’s always been on my radar.

    Q: What’s compelling to you about this particular Powers book?

    A: “The Overstory” is made up of many stories about characters who come together, improbably, because of trees. It starts with short chapters describing characters with relationships to trees. One is about a family that moved to the Midwest and planted a chestnut tree. It grows for 150 years and they take pictures every year, and it’s at the center of the family until it gets cut down in the 1990s. Another guy is in a plane in Vietnam and gets shot down, and his parachute gets caught in a tree right before he hits the ground.

    One character is named Patricia Westerford and she’s a scientist. Her life work is studying the forest and trees, and she discovers that trees communicate — both underground, through the roots, and through the air, via particles. They’re much more like a network than they are static, isolated objects. Her whole world is discovering the miracle of this network, but nobody believes her and she loses her tenure. And she basically goes and lives in the forest. Eventually all the characters in the book come together to preserve a forest in the Northwest that’s going to be destroyed. They become connected through trees, but in the book, all their lives are basically destroyed. It’s not a happy ending, but you understand how human beings are connected through the natural world, and have to think about this connection in a radically new way.

    Every single character came alive. The book is just a miracle. It’s a great work of art. Immediately, reading it, I thought, this is something I want to work on.

    Q: How did you start turning that into an operatic composition?

    A: I got in touch with Powers soon after that. Richard knew my music and answered immediately, saying, “I’d love to have you do an opera on this, and let’s figure out how.” I started working on it just before the pandemic. Around that time he came to Harvard to give a lecture, so he came here to my office in the Media Lab, and we got to chat.

    Generally novels leave more room for you to decide how to make music out of them; they’re a lot less scripted than a movie or a play, and the many inner thoughts and asides leave room for music to fill in. I asked Richard, “Would you be interested in writing the text for this?” And right away he said, “Look, I’d like to be involved in the process, but I don’t feel equipped to write a libretto.” So, I went to Simon Robson, who worked on “Schoenberg in Hollywood” [another Machover opera], and we started working and checked in with Richard from time to time.

    Just about that time the ensemble Sejong Soloists, who are based in New York and Seoul, offered to have their string orchestra collaborate on a project with a theatrical aspect, which was new for them. I explained I was working on an opera based on “The Overstory,” and I felt we could explore its themes. I could imagine the string instruments being like trees and the orchestra being the forest.

    The next thing I did was contact my favorite singer, Joyce DiDonato. She’s such a beautiful, powerful singer. I did an opera in 1999 for Houston called “Resurrection,” which was based on Tolstoy’s last novel, and we were casting the main female character. We did auditions in New York, Los Angeles, and Europe, couldn’t find the main character, and finally the head of the Houston Grand Opera said, “You know, there’s this young singer in our apprentice program who’s pretty special, and you should hear her.”

    And sure enough, that was Joyce. It was her first major role. We hadn’t done another project together although we remained close over the years, but I called her and said “Joyce, I know how busy you are, but I’ve got this idea, and I’ll send you the book. It’s great and I’d love to focus on this one character, would you consider doing it?” And she said she’d love to, partly because sustainability and the environment is something she really cares about.

    Q: Okay, but how do you get started writing music for a piece when it’s based on a book about trees?

    A: I began with two things. Musically I started with the idea of creating this language for tree communication. I was inspired by this idea that one of the reasons we don’t know about it is it’s underground, it’s low, it’s spreading out. I’m a cellist, and I’ve always loved music that grows from the bottom. When you play the cello, in a lot of the great literature, you’re playing the low part of a quartet or quintet or orchestra, and often people don’t quite hear it as the most prominent thing.

    The second thing I did was start making this text. Which was hard, because it’s a big novel. It’s a 35-minute piece where Joyce is at the center. When she starts, she just talks, for a minute, and then little by little it turns into song. It’s her sharing with everybody what she learned, she brings you into the world of the forest. In time, there’s a crisis, they’re destroying the forest, and as she says, they’re tearing out the lungs — tearing out the mind — of the world. The last part of the piece is a vision of how the trees need us but we need them even more.

    Q: I don’t want to push too hard on this, but the composition sounds parallel with its subject matter. Trees are connected; an orchestra is connected. And then this story is about people building a connection to nature, while you want the audience to feel a connection to the piece. How much did you think about it that way?

    A: I was thinking about that pretty consciously, and I really tried to make something that feels very still and simple, but where there’s a lot going on. It feels like it’s living and moving. The piece starts out with solo instruments, so at first everybody’s doing their bit, then they all join in. The strings make a rich ensemble sound, but in the last section every single instrument has its own part — I wrote an individual part for all these string players so they’re kind of weaving in and out. Musically it’s very much constructed to lead people through a forest that is both diverse but connected together.

    I also enjoy using electronics to add another dimension. In this piece I’ve tried to create an electronic world that doesn’t necessarily remind you of electronics, except for one part where machines comes in ripping the forest apart. But mostly the electronics are blended with the orchestra in a way you might not always notice. The sound and feel, hopefully, will appear more natural than nature.

    Q: You also seem to have clearly identified a story with real operatic drama here, unusual as it may be.

    A: The emotional transition that happens is the awareness of what the forest means, and in your gut what it means to protects it, and what it would mean to lose it, and then a glimpse of what it might feel like to live in a different way. I think the contribution someone like myself might be able to make is to change attitudes, to think about our limits as a species and as individuals. Technical solutions alone aren’t going to solve things; people’s behavior somehow has to change. A piece like this is a way of having the experience of crisis, and a vision of what could be different.

    Q: Here’s something a lot of us want to know: What’s it like working with Joyce DiDonato?

    A: She’s one of those rare people. She’s completely direct and honest and lives life to the fullest. Joyce, I mean, thank God she has the best voice you’ll ever hear and she’s at the top of her game, but she also thinks about the world and ideas, and she did a whole project a few years ago performing a repertoire around the world about war and peace, to jolt people into a new understanding. Every project she’s involved with, she cares about the characters and she’s in it all the way.

    For this piece we did a bunch of Zoom sessions and tried things out. And she’s fantastic at saying, “To make that phrase the best you can for my voice at this point in the piece, would you consider changing that one note?” She has incredibly precise ideas about that. So, we worked musically on every detail and on the whole shape. What a pleasure! She also came here to MIT. She hadn’t been to the Media Lab, so she spent two days here at the beginning of August with her partner. She was so open to all the students and all the ideas and inventions and machines and software, just in the most gracious and truly excited way. You couldn’t have had a better visitor.

    Q: Any last thoughts about this piece you want to share?

    A: In my music in general, I’m pretty voracious at combining different things. I think in this project where it involves the natural world and the language of trees, and the language of melodies and instruments and electronic music, there may be more elements I’ve pulled together than ever. The emotional and even musical world here is larger. That’s my story here: These elements require and invite new thinking. And remember: This is just the first part of a larger project. I hope that you can hear the full “Overstory” opera — perhaps with trees growing in a major opera house — in the not-so-distant future! More

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    in Environment

    Improving health outcomes by targeting climate and air pollution simultaneously

    Climate policies are typically designed to reduce greenhouse gas emissions that result from human activities and drive climate change. The largest source of these emissions is the combustion of fossil fuels, which increases atmospheric concentrations of ozone, fine particulate matter (PM2.5) and other air pollutants that pose public health risks. While climate policies may result in lower concentrations of health-damaging air pollutants as a “co-benefit” of reducing greenhouse gas emissions-intensive activities, they are most effective at improving health outcomes when deployed in tandem with geographically targeted air-quality regulations.

    Yet the computer models typically used to assess the likely air quality/health impacts of proposed climate/air-quality policy combinations come with drawbacks for decision-makers. Atmospheric chemistry/climate models can produce high-resolution results, but they are expensive and time-consuming to run. Integrated assessment models can produce results for far less time and money, but produce results at global and regional scales, rendering them insufficiently precise to obtain accurate assessments of air quality/health impacts at the subnational level.

    To overcome these drawbacks, a team of researchers at MIT and the University of California at Davis has developed a climate/air-quality policy assessment tool that is both computationally efficient and location-specific. Described in a new study in the journal ACS Environmental Au, the tool could enable users to obtain rapid estimates of combined policy impacts on air quality/health at more than 1,500 locations around the globe — estimates precise enough to reveal the equity implications of proposed policy combinations within a particular region.

    “The modeling approach described in this study may ultimately allow decision-makers to assess the efficacy of multiple combinations of climate and air-quality policies in reducing the health impacts of air pollution, and to design more effective policies,” says Sebastian Eastham, the study’s lead author and a principal research scientist at the MIT Joint Program on the Science and Policy of Global Change. “It may also be used to determine if a given policy combination would result in equitable health outcomes across a geographical area of interest.”

    To demonstrate the efficiency and accuracy of their policy assessment tool, the researchers showed that outcomes projected by the tool within seconds were consistent with region-specific results from detailed chemistry/climate models that took days or even months to run. While continuing to refine and develop their approaches, they are now working to embed the new tool into integrated assessment models for direct use by policymakers.

    “As decision-makers implement climate policies in the context of other sustainability challenges like air pollution, efficient modeling tools are important for assessment — and new computational techniques allow us to build faster and more accurate tools to provide credible, relevant information to a broader range of users,” says Noelle Selin, a professor at MIT’s Institute for Data, Systems and Society and Department of Earth, Atmospheric and Planetary Sciences, and supervising author of the study. “We are looking forward to further developing such approaches, and to working with stakeholders to ensure that they provide timely, targeted and useful assessments.”

    The study was funded, in part, by the U.S. Environmental Protection Agency and the Biogen Foundation. More

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    Study: Carbon-neutral pavements are possible by 2050, but rapid policy and industry action are needed

    Almost 2.8 million lane-miles, or about 4.6 million lane-kilometers, of the United States are paved.

    Roads and streets form the backbone of our built environment. They take us to work or school, take goods to their destinations, and much more.

    However, a new study by MIT Concrete Sustainability Hub (CSHub) researchers shows that the annual greenhouse gas (GHG) emissions of all construction materials used in the U.S. pavement network are 11.9 to 13.3 megatons. This is equivalent to the emissions of a gasoline-powered passenger vehicle driving about 30 billion miles in a year.

    As roads are built, repaved, and expanded, new approaches and thoughtful material choices are necessary to dampen their carbon footprint. 

    The CSHub researchers found that, by 2050, mixtures for pavements can be made carbon-neutral if industry and governmental actors help to apply a range of solutions — like carbon capture — to reduce, avoid, and neutralize embodied impacts. (A neutralization solution is any compensation mechanism in the value chain of a product that permanently removes the global warming impact of the processes after avoiding and reducing the emissions.) Furthermore, nearly half of pavement-related greenhouse gas (GHG) savings can be achieved in the short term with a negative or nearly net-zero cost.

    The research team, led by Hessam AzariJafari, MIT CSHub’s deputy director, closed gaps in our understanding of the impacts of pavements decisions by developing a dynamic model quantifying the embodied impact of future pavements materials demand for the U.S. road network. 

    The team first split the U.S. road network into 10-mile (about 16 kilometer) segments, forecasting the condition and performance of each. They then developed a pavement management system model to create benchmarks helping to understand the current level of emissions and the efficacy of different decarbonization strategies. 

    This model considered factors such as annual traffic volume and surface conditions, budget constraints, regional variation in pavement treatment choices, and pavement deterioration. The researchers also used a life-cycle assessment to calculate annual state-level emissions from acquiring pavement construction materials, considering future energy supply and materials procurement.

    The team considered three scenarios for the U.S. pavement network: A business-as-usual scenario in which technology remains static, a projected improvement scenario aligned with stated industry and national goals, and an ambitious improvement scenario that intensifies or accelerates projected strategies to achieve carbon neutrality. 

    If no steps are taken to decarbonize pavement mixtures, the team projected that GHG emissions of construction materials used in the U.S. pavement network would increase by 19.5 percent by 2050. Under the projected scenario, there was an estimated 38 percent embodied impact reduction for concrete and 14 percent embodied impact reduction for asphalt by 2050.

    The keys to making the pavement network carbon neutral by 2050 lie in multiple places. Fully renewable energy sources should be used for pavement materials production, transportation, and other processes. The federal government must contribute to the development of these low-carbon energy sources and carbon capture technologies, as it would be nearly impossible to achieve carbon neutrality for pavements without them. 

    Additionally, increasing pavements’ recycled content and improving their design and production efficiency can lower GHG emissions to an extent. Still, neutralization is needed to achieve carbon neutrality.

    Making the right pavement construction and repair choices would also contribute to the carbon neutrality of the network. For instance, concrete pavements can offer GHG savings across the whole life cycle as they are stiffer and stay smoother for longer, meaning they require less maintenance and have a lesser impact on the fuel efficiency of vehicles. 

    Concrete pavements have other use-phase benefits including a cooling effect through an intrinsically high albedo, meaning they reflect more sunlight than regular pavements. Therefore, they can help combat extreme heat and positively affect the earth’s energy balance through positive radiative forcing, making albedo a potential neutralization mechanism.

    At the same time, a mix of fixes, including using concrete and asphalt in different contexts and proportions, could produce significant GHG savings for the pavement network; decision-makers must consider scenarios on a case-by-case basis to identify optimal solutions. 

    In addition, it may appear as though the GHG emissions of materials used in local roads are dwarfed by the emissions of interstate highway materials. However, the study found that the two road types have a similar impact. In fact, all road types contribute heavily to the total GHG emissions of pavement materials in general. Therefore, stakeholders at the federal, state, and local levels must be involved if our roads are to become carbon neutral. 

    The path to pavement network carbon-neutrality is, therefore, somewhat of a winding road. It demands regionally specific policies and widespread investment to help implement decarbonization solutions, just as renewable energy initiatives have been supported. Providing subsidies and covering the costs of premiums, too, are vital to avoid shifts in the market that would derail environmental savings.

    When planning for these shifts, we must recall that pavements have impacts not just in their production, but across their entire life cycle. As pavements are used, maintained, and eventually decommissioned, they have significant impacts on the surrounding environment.

    If we are to meet climate goals such as the Paris Agreement, which demands that we reach carbon-neutrality by 2050 to avoid the worst impacts of climate change, we — as well as industry and governmental stakeholders — must come together to take a hard look at the roads we use every day and work to reduce their life cycle emissions. 

    The study was published in the International Journal of Life Cycle Assessment. In addition to AzariJafari, the authors include Fengdi Guo of the MIT Department of Civil and Environmental Engineering; Jeremy Gregory, executive director of the MIT Climate and Sustainability Consortium; and Randolph Kirchain, director of the MIT CSHub. More

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    in Environment

    Featured video: Investigating our blue ocean planet

    A five-year doctoral degree program, the MIT – Woods Hole Oceanographic Institution (WHOI) Joint Program in Oceanography/Applied Ocean Science and Engineering combines the strengths of MIT and WHOI to create one of the largest oceanographic facilities in the world. Graduate study in oceanography encompasses virtually all the basic sciences as they apply to the marine environment: physics, chemistry, geochemistry, geology, geophysics, and biology.

    “As a species and as a society we really want to understand the planet that we live on and our place in it,” says Professor Michael Follows, who serves as director of the MIT-WHOI Joint Program.

    “The reason I joined the program was because we cannot afford to wait to be able to address the climate crisis,” explains graduate student Paris Smalls. “The freedom to be able to execute on and have your interests come to life has been incredibly rewarding.”

    “If you have a research problem, you can think of the top five people in that particular niche of a topic and they’re either down the hallway or have some association with WHOI,” adds graduate student Samantha Clevenger. “It’s a really incredible place in terms of connections and just having access to really anything you need.”

    Video by: Melanie Gonick/MIT | 5 min, 12 sec More

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    in Environment

    Rescuing small plastics from the waste stream

    As plastic pollution continues to mount, with growing risks to ecosystems and wildlife, manufacturers are beginning to make ambitious commitments to keep new plastics out of the environment. A growing number have signed onto the U.S. Plastics Pact, which pledges to make 100 percent of plastic packaging reusable, recyclable, or compostable, and to see 50 percent of it effectively recycled or composted, by 2025.

    But for companies that make large numbers of small, disposable plastics, these pocket-sized objects are a major barrier to realizing their recycling goals.

    “Think about items like your toothbrush, your travel-size toothpaste tubes, your travel-size shampoo bottles,” says Alexis Hocken, a second-year PhD student in the MIT Department of Chemical Engineering. “They end up actually slipping through the cracks of current recycling infrastructure. So you might put them in your recycling bin at home, they might make it all the way to the sorting facility, but when it comes down to actually sorting them, they never make it into a recycled plastic bale at the very end of the line.”

    Now, a group of five consumer products companies is working with MIT to develop a sorting process that can keep their smallest plastic products inside the recycling chain. The companies — Colgate-Palmolive, Procter & Gamble, the Estée Lauder Companies, L’Oreal, and Haleon — all manufacture a large volume of “small format” plastics, or products less than two inches long in at least two dimensions. In a collaboration with Brad Olsen, the Alexander and I. Michael Kasser (1960) Professor of Chemical Engineering; Desiree Plata, an associate professor of civil and environmental engineering; the MIT Environmental Solutions Initiative; and the nonprofit The Sustainability Consortium, these companies are seeking a prototype sorting technology to bring to recycling facilities for large-scale testing and commercial development.

    Working in Olsen’s lab, Hocken is coming to grips with the complexity of the recycling systems involved. Material recovery facilities, or MRFs, are expected to handle products in any number of shapes, sizes, and materials, and sort them into a pure stream of glass, metal, paper, or plastic. Hocken’s first step in taking on the recycling project was to tour one of these MRFs in Portland, Maine, with Olsen and Plata.

    “We could literally see plastics just falling from the conveyor belts,” she says. “Leaving that tour, I thought, my gosh! There’s so much improvement that can be made. There’s so much impact that we can have on this industry.”

    From designing plastics to managing them

    Hocken always knew she wanted to work in engineering. Growing up in Scottsdale, Arizona, she was able to spend time in the workplace with her father, an electrical engineer who designs biomedical devices. “Seeing him working as an engineer, and how he’s solving these really important problems, definitely sparked my interest,” she says. “When it came time to begin my undergraduate degree, it was a really easy decision to choose engineering after seeing the day-to-day that my dad was doing in his career.”

    At Arizona State University, she settled on chemical engineering as a major and began working with polymers, coming up with combinations of additives for 3D plastics printing that could help fine-tune how the final products behaved. But even working with plastics every day, she rarely thought about the implications of her work for the environment.

    “And then in the spring of my final year at ASU, I took a class about polymers through the lens of sustainability, and that really opened my eyes,” Hocken remembers. The class was taught by Professor Timothy Long, director of the Biodesign Center for Sustainable Macromolecular Materials and Manufacturing and a well-known expert in the field of sustainable plastics. “That first session, where he laid out all of the really scary facts surrounding the plastics crisis, got me very motivated to look more into that field.”

    At MIT the next year, Hocken sought out Olsen as her advisor and made plastics sustainability her focus from the start.

    “Coming to MIT was my first time venturing outside of the state of Arizona for more than a three-month period,” she says. “It’s been really fun. I love living in Cambridge and the Boston area. I love my labmates. Everyone is so supportive, whether it’s to give me advice about some science that I’m trying to figure out, or just give me a pep talk if I’m feeling a little discouraged.”

    A challenge to recycle

    A lot of plastics research today is devoted to creating new materials — including biodegradable ones that are easier for natural ecosystems to absorb, and highly recyclable ones that hold their properties better after being melted down and recast.

    But Hocken also sees a huge need for better ways to handle the plastics we’re already making. “While biodegradable and sustainable polymers represent a very important route, and I think they should certainly be further pursued, we’re still a ways away from that being a reality universally across all plastic packaging,” she says. As long as large volumes of conventional plastic are coming out of factories, we’ll need innovative ways to stop it from piling onto the mountain of plastic pollution. In one of her projects, Hocken is trying to come up with new uses for recycled plastic that take advantage of its lost strength to produce a useful, flexible material similar to rubber.

    The small-format recycling project also falls in this category. The companies supporting the project have challenged the MIT team to work with their products exactly as currently manufactured — especially because their competitors use similar packaging materials that will also need to be covered by any solution the MIT team devises.

    The challenge is a large one. To kick the project off, the participating companies sent the MIT team a wide range of small-format products that need to make it through the sorting process. These include containers for lip balm, deodorant, pills, and shampoo, and disposable tools like toothbrushes and flossing picks. “A constraint, or problem I foresee, is just how variable the shapes are,” says Hocken. “A flossing pick versus a toothbrush are very different shapes.”

    Nor are they all made of the same kind of plastic. Many are made of polyethylene terephthalate (PET, type 1 in the recycling label system) or high-density polyethylene (HDPE, type 2), but nearly all of the seven recycling categories are represented among the sample products. The team’s solution will have to handle them all.

    Another obstacle is that the sorting process at a large MRF is already very complex and requires a heavy investment in equipment. The waste stream typically goes through a “glass breaker screen” that shatters glass and collects the shards; a series of rotating rubber stars to pull out two-dimensional objects, collecting paper and cardboard; a system of magnets and eddy currents to attract or repel different metals; and finally, a series of optical sorters that use infrared spectroscopy to identify the various types of plastics, then blow them down different chutes with jets of air. MRFs won’t be interested in adopting additional sorters unless they’re inexpensive and easy to fit into this elaborate stream.

    “We’re interested in creating something that could be retrofitted into current technology and current infrastructure,” Hocken says.

    Shared solutions

    “Recycling is a really good example of where pre-competitive collaboration is needed,” says Jennifer Park, collective action manager at The Sustainability Consortium (TSC), who has been working with corporate stakeholders on small format recyclability and helped convene the sponsors of this project and organize their contributions. “Companies manufacturing these products recognize that they cannot shift entire systems on their own. Consistency around what is and is not recyclable is the only way to avoid confusion and drive impact at scale.

    “Additionally, it is interesting that consumer packaged goods companies are sponsoring this research at MIT which is focused on MRF-level innovations. They’re investing in innovations that they hope will be adopted by the recycling industry to make progress on their own sustainability goals.”

    Hocken believes that, despite the challenges, it’s well worth pursuing a technology that can keep small-format plastics from slipping through MRFs’ fingers.

    “These are products that would be more recyclable if they were easier to sort,” she says. “The only thing that’s different is the size. So you can recycle both your large shampoo bottle and the small travel-size one at home, but the small one isn’t guaranteed to make it into a plastic bale at the end. If we can come up with a solution that specifically targets those while they’re still on the sorting line, they’re more likely to end up in those plastic bales at the end of the line, which can be sold to plastic reclaimers who can then use that material in new products.”

    “TSC is really excited about this project and our collaboration with MIT,” adds Park. “Our project stakeholders are very dedicated to finding a solution.”

    To learn more about this project, contact Christopher Noble, director of corporate engagement at the MIT Environmental Solutions Initiative. More