The way we heat our homes is a major contributor to the greenhouse gases that are heating up the planet. So moving to more sustainable home heating is vital for decarbonisation and meeting emissions targets.
Campaigns usually offer technological solutions as well as environmental and economic incentives. But they rarely recognise that the way we heat our homes is a way of life – connected to our identities, relationships, communities, culture, values and the “practice” of making a home.
Changing something as fundamental as heating can bring up complex feelings. To understand how people are connected to the way they heat their homes, we – a group of academics at Sheffield Hallam University, Birmingham City University and universities in Finland, Sweden and Romania – embarked on a project that combined history, art, and social science research to find out how cultures and histories of heating can inform fair and effective change.
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The Justheat research project explores the experience of eight communities in four nations that have had different heating transition journeys. These are: Sweden, which is at an advanced stage of energy transition; Finland, where a culture of burning wood is in conflict with decarbonisation; Romania, with a hesitant energy plan where experiences of heating poverty make change unpopular; and the UK which has a “lagging” uptake of low carbon heating sources.
We gathered oral histories from selected communities to encourage personal reflection on the past through the perspective of the present. Oral histories encourage people to decide what is important to tell – not the researcher. We collected more than 300 accounts of changes in the way people heated their homes since 1940.
Artists were appointed in each country to create artworks that highlighted various aspects of the oral histories. This included Finnish painter and textiles artist Henna Aho, Romanian photographer Denise Lobont and video artist Ram Krishna Ranjan, who lives in Sweden. I am both the project UK artist and co-ordinator of the other artists. All were selected because they had an existing interest in home heating and had experience of collaboration.
When listening to people’s stories, the artists noted how detailed descriptions or emotional intensity stood out. These included reflections on how children found fires to be a source of play (one participant described “crashing” toy planes into the flames), a son’s guilt for not helping his mother with making the fire, and a woman’s memory of a friend becoming ill from severe cold. The artists were inspired by the creative ways people mixed past, present and future in their stories.
Each nation and story is unique, but the tension between government (or other forms of authority) and communities was a common theme. For example, in Finland people value wood as a secure fuel that they can grow and control themselves – but this means some people move away from the efficient and sustainable networked heating solutions that are already in use there.
In Sweden, oral histories showed a strong trust in government energy policy, but renters struggled with the ways that landlords can limit heating. In Romania, a severe lack of energy during the fall of Communism in 1989 and austerity measures to pay off national debt led to desperate households burning furniture to keep warm.
In Romania and some other countries, descriptions of past distrust in the government often accompanies a negative reaction to current policies, fearing that they will reduce individual control and benefit.
In the UK the last mining pits closed as recently as 2013, so the pain of losing livelihoods and communities is still felt. Some of our UK oral histories documented how coal provided people with a sense of security because they could control how long the fuel would last.
Coal was described as a total way of life, linking home, family, work, community, love, food, safety and care. Despite the dirt and drudgery of coal home heating, the joy of getting warm by the fire was seared into people’s memory. While there were stories of feeling cold, they often described feeling joy in the contrast of being cold and then getting warm. This was seen as part of the intense joy of radiant heat.
When gas central heating was rolled out in the 1970s and 1980s, our oral histories described it as “marvellous” in its speed and cleanliness, but some participants also felt that it lacked the comfort, cheer and invitation to gather together that a solid fuel fire offers.
Despite Sweden’s successful electric heating network, the Swedish oral histories recorded an enduring joy in the use of wood-burning stoves to heat their summer houses. This did not counter their appreciation of electric networked heating, but the delight of an additional fire and its capacity to draw people together, persists.
Combined, the oral histories and the artworks inspired by them let us understand how past changes to the way we heat our homes have affected us. We are currently sharing the artists’ work with communities and local energy leaders, and we are interested to see how artworks might encourage discussion.
Current research and policy focuses on technological change to generate rapid decarbonisation. However, no change can be made without getting households on board. As part of this, we need to understand how past experiences influence communities’ response to energy change.
Changing the way we heat our homes is likely to be attractive only if it offers a significant improvement in the experience of keeping warm, rather than merely appealing to us in economic terms, or for environmental reasons.
Becky Shaw receives funding from Arts and Humanities Research Council and Birmingham City University.
This article was originally published on The Conversation. Read the original article.
