Case studies of sustainable design
and eco efficiency
Introduction to the unit................................................................................................. 2
1. Political Background ............................................................................................ 2
2. Eco Terminology ................................................................................................. 3
3. New Thinking ...................................................................................................... 3
4. Case Studies ......................................................................................................... 5
5. Design Networking .............................................................................................. 6
6. Concluding Remarks ............................................................................................ 7
6.1. Concluding Remarks ..................................................................................... 7
6.2. Useful websites ............................................................................................. 9
Do this .................................................................................................................. 9
Try this ................................................................................................................. 9
References .................................................................................................................. 10
Acknowledgements .................................................................................................... 10
Authors ................................................................................................................... 10
John Merefield ................................................................................................... 10
John Blewitt ....................................................................................................... 10
Images .................................................................................................................... 11
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Introduction to the unit
Many designers have taken onboard the need to assist in achieving sustainability
whilst fuelling a thriving economy with growth in production and consumption
levels inherent in a capitalist framework. No two designers are necessarily the
same. Their profiles, their designs and their ethical stances may also be quite
different. This Unit examines how companies and individual designers have
established a distinctive profile and have invested much of their creativity towards
Sustainable Product Design (SPD).
The aims of this unit are to explore:
 To examine examples of sustainable design
 To evaluate eco efficiency in products and services
 To consider indicators and metrics
1. Political Background
The term Sustainable Product Design (SPD) was coined at an International
Symposium on Sustainable Consumption in Oslo, Norway in 1994. This meeting
defined the term as:
‘the use of goods and services that respond to basic needs and bring a
better quality of life, while minimizing the use of natural resources,
toxic materials and emissions of waste and pollutants over the life
cycle, so as not to jeopardize the needs of future generations.’
Some eight years later, the UK Government signed up to:
‘encourage and promote the development of a ten year framework of
programmes…. To accelerate the shift towards sustainable
consumption’
Securing The Future, 2005 (see website: Sustainable Development in
Government)
Through a new Sustainable Design Forum, the UK Government is set on following
home this declaration where it can champion those involved in eco-design and
induct others into the process. It will promote best practice tools and approaches,
which can then be adopted by others. It will also continue to develop its policies on
sustainable consumption and production.
A second prong of the strategy is to develop the markets for such sustainable
products. The Economic Regional Development Fund, for example, is partnering
projects such as Remade and Enhance. Individuals starting up in the business sector
are supported and a strong emphasis is being fostered to enhance sustainability and
sustainable design in its portfolio and to target future designers, producers and
manufacturers.
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2. Eco Terminology
There is much debate over eco terminology as this branch of the subject continues
to develop rapidly. In general, most designers will refer relatively loosely to ecodesign or sustainable design. Those working in recycling will point generally to this
as their abroad area of activity. Champeney (2006), however, has questioned the
tendency for environmentalists to impose an environmental value to all objects
made using recycled materials. It is important to establish here that eco-design does
not deal with the fundamental question of whether a product is really needed in the
full context of sustainability. To do this, we need to explore other elements such as:
cultural attitudes, value systems, ethics, equity and access into design processes.
Design for recycling and recycleability is often seen as the easy option when
energy efficiency or reduced emissions may result in less environmental impact
(Goggin and Dewberry, 1997). Turning rags to rugs and tin into jewellery is
nothing new (Press, 1997).
The challenge for the manufacturer then is to focus on design-led thinking, the
psychology of the designer, the intricate process of trade-offs that may arise and the
creative and aesthetic opportunities that designing for sustainability presents.
Exercise
Thinking Questions
1. Are eco-preneurs motivated by a true desire to push change or simply
looking for a niche to exploit?
2. In what ways are they networking and how much is it integral to their
success?
3. Where do they fit into mainstream product design?
4. How are they influencing the aesthetics of sustainable product design?
Answer
1. Some are committed to the cause, some out for the main chance others a mix
of the two.
2. It depends who you talk to. Again, some are and some prefer to work in
isolation.
3. Some do and sometimes for large organisations such as Leitz, for example.
4. Well, look at the Sony range of electronic products and you'll see some
stunning ergonomics but then perhaps Bang and Olufsen steals the show
here?
End of answer
3. New Thinking
In 1984, Victor Papanek wrote challenging designers to rethink their practices, in
‘Design for the Real World’. He followed up his challenge in 1995 with, ‘The
Green Imperative: Ecology and Ethics in Design and Architecture’. He emphasised
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here the need for designers to recognise their ecological responsibility. The
designers were seen as teachers and in a position to inform and influence their
clients and consumers. They could provide choices for people and these choices
had to be meaningful, enabling them to make more of their own life decisions. He
called for a rethinking of products and acknowledged that, ‘no product stands
alone’. Products, therefore, that are designed specifically to help the environment
along with design diversification are an example of responsible design. He
pioneered a function matrix to explain the six phases of production and resulting
pollution as:






Choice of material
Manufacturing process
Packaging of product
The finished product
Transportation
Waste
Figure 1. Papenek’s Function Complex
Description
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Papenek’s Function Complex.
End of description
Exercise
For your Personal Notes
1. Come up with examples of the convenience traps of design to perpetuate
markets. For example: miniaturisation, increased power, gadgetry, ‘state of
the art’ and packaging as product.
2. Now come up with examples of the opposite ie Green Design. For example:
localised product, flexible, emphasis on quality, performance and
craftsmanship.
Unfortunately what Papernek conceived as green design developed negative
connotations associated with ‘green-washing’ as a superficial marketing attempt to
‘clean up’ products. His influence, therefore has received less attention than it
should have for the past decades.
In his book, ‘The Total Beauty of Sustainable Products’ Edwin Datschefski (2001)
describes the environmental and social impacts of products as their underlying
ugliness and he then goes on to forward examples of sustainable products that he
considers show total beauty. His five basic principles of sustainable product design
are:
Cyclic compostable or continuously recyclable Solar consumes only renewable
energy Efficient energy, water and resource Safe products and by-products
containing no hazardous materials Social product manufacture and its use supports
basic human rights.
Traditionally, designers have seen their role to achieve both creative and technical
aspects of quality by taking in such criteria as ergonomics, usability, performance,
materials and energy optimisation. McDonough and Braungart (2002) challenge
this viewpoint by asking for a redefinition of ‘quality’ adding ecological
intelligence, social justice and celebration of creativity, to design criteria.
4. Case Studies
Inspire Recycle are a Kingston University partnership focussing on the area of
recycling and design innovation. Paul Micklethwaite and the team there have
written numerous papers on the UK scene, some of which they feature on their
website:
http://www.inspirerecycle.org
These focus on the success stories and best practice case studies. They highlight the
necessity for changing conventional attitudes on recycled products. For example:
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‘People sometimes assume that recycled products will be poor quality
or expensive. These negative perceptions will be challenged if
attractive, functional and affordable recycled products are explicitly
promoted and marketed as ‘recycled’ (2006).
To conclude this section, Manzini (2006) comes up with an abstract view of the
aesthetics of recycling as complex links between human beings and the products
they own. The problem as he sees it, is to amend the purely technical and
organisational connotation which characterises today’s activities of separating,
collecting and processing discarded products and bringing them out of the:
‘dark corner of our cultural universe whose industrial society hunts
down anything that smacks of garbage and tries to hide it’.
5. Design Networking
Stakeholders from different sectors are beginning to network effectively. A
sustainability network, ‘Sustainability in Practice’, for example, has been
facilitating networking events for designers such as a series of lectures that take
place bi-annually. These kinds of relationships have been presented graphically by
Roberts, 2006 and are shown below in Figure 2.
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Figure 2. Sustainability in Design Networking. From Roberts 2006.
Description
Diagram to show Sustainability in Design Networking.
End of description
6. Concluding Remarks
6.1. Concluding Remarks
We might conclude this Unit by noting that eco-designers are beginning to make
their presence felt in mainstream design. The contradictions that persist throughout
this subject, however, make it a bumpy ride. Successful innovative approaches at
model level, for example, don’t always translate well to larger scales. Access to
‘eco-information’ specifically aimed at designers is also patchy, although this
situation is improving
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Description
Illustration of an eco car.
End of description
Toyota has acknowledged a detrimental relationship exists between vehicle exhaust
emissions, carbon dioxide, climate change and urban air pollution. In response it set
about launching the revolutionary Toyota D-CAT (Diesel Clean Advanced
Technologies) concept, which lowers emission levels to well below Euro IV
standards for diesel engines.
The Eco Car They have also effectively pioneered a hybrid (petrol/electric)
technology to produce the world's first mass produced eco-vehicle - the Toyota
Prius. The Prius incorporates Toyota's innovative Hybrid Synergy Drive, which
integrates all aspects of their Hybrid System, from an optimum combination of
electric motor and petrol engine to electricity regeneration through the braking
system.
Through the use of the Hybrid Synergy Drive system, the vehicle is run from an
emissions point of view, under the most efficient mode. As petrol and/or electric.
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The greatest benefit here to the environment is the generation of up to 89% less
tailpipe pollutants than conventional internal combustion engines. It also achieves
2.5 times the average fuel efficiency of conventional vehicles. Toyota plans to
introduce the Hybrid Synergy Drive approach into more of its vehicle products.
Exercise
Reflective Question 1
Explore the websites and marketing information emanating from organisations
known to you. What key aspects and principles of sustainable product design
apply? Make a note of your thoughts in your personal notes or learning journal.
6.2. Useful websites
You can explore some of the organisations and sustainable product design
initiatives further at the following websites:
Securing the Future. One Planet Economy. Sustainable Development Strategy.
Chapter 3, Defra, March 2005: http://www.defra.gov.uk/environment/business/scp/
Champeney, Anna. 2006. Adapted from Reclaimed:Contemporary British Craft and
Design, The British Council: http://www.britishcouncil.org/arts-design-craftreclaimed.htm Goggin, Phillip & Dewberry, Emma. Spaceship Ecodesign. 1997:
http://www.co-design.co.uk/edew+pgo.htm Manzini, E. 2006 The aesthetics of
recycling is not in the product: http://www.re-f-use.com
You might want to follow up this unit by looking at developments in Business and
Sustainability. This could include the mixed messages emanating from business, an
examination of the impact of eco-heroes and villains and also try to identify the
resulting diverse approaches to sustainability in business.
Do this
Now you have completed this unit, you might like to:



Post a message to the unit forum.
Review or add to your Learning Journal.
Rate this unit.
Try this
You might also like to:

Find out more about related courses ran by the University of Exeter:
MSc Sustainable Development

Book a meeting with FM to talk live with other learners

Create a Knowledge Map to summarise this topic.
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References
Datschefski, Edwin. 2001. The Total Beauty of Sustainable Products. East Essex,
Rotovision.
McDonough, William and Braungart, Michael. 2002. Design for the Triple Top
Line: New tools for Sustainable Commerce. Corporate Environmental Strategy, Vol
9., No. 3.
Papenek, V. 1984. Design for the Real World: Human Ecology and Social Change,
Frome & London, Butler and Tanner Ltd.
Papenek, V. 1995. The Green Emperitive: Ecology and Ethics in Design and
Architecture, London, Thames and Hudson.
Roberts, Elizabeth. 2006. The aesthetics of sustainable product design: Are a new
network of design-makers emerging as the eco-preneurs of the design industry?
Sustainable Development MSc Dissertation, Unpublished, University of Exeter.
91pp.
Acknowledgements
Authors
John Merefield
John is an Environmental, European and Chartered Geologist with research
interests in atmospheric particles and science education. John is a long standing
member of the Institute of Science Technology, the Geological Society of London,
the Association of Geoscientists for International Development and the National
Society for Clean Air.
Formerly Director of the Earth Resources Centre, he is currently programme leader
in Environmental Studies for the School of Education and Lifelong Learning and
tutor in Business and Sustainability for the School of Geography, Archaeology and
Earth Resources. His research, training and consultancy assignments have led to
work in 20 countries and 70 publications.
John Blewitt
John has extensive experience in adult, further and higher education. He was
formerly Course Leader for the BA Community Regeneration and Development
and Undergraduate Course Chair in the School of Lifelong education and
Development at the University of Bradford and a founder member of the Yorkshire
and Humber Education for Sustainability Forum.
John joined the Exeter University in 2003 and is currently co-Director of the MSc
Sustainable Development where he leads the Distance Learning, OPLeaders and
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Sustainable Communities pathways. John is also Director of the MA Archaeology
and Heritage Management.
Recent external activities include work with the United Nations Advisory Panel on
Sustainability Communications, WWF International on One Planet Leaders John is
currently a member of Sustainability SouthWest, the UK Sustainable Development
Panel and the IUCN Commission on Education and Communication.
John's research interests are in the areas of developing Sustainable Communities
and New Media and Sustainability.
Images
Photo of Solo - Hungarian eco car by Zsoolt available from Flickr under
CC:Attribution-Noncommercial 2.0 Generic
All other photos contained within this unit originated at the University of Exeter.
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