Research Log: IT’S OUR F***ING BACKYARD
Designing for the Circular Economy
by Ab Stevels
by Ab Stevels
On the occasion of the exhibition It’s our F***ing Backyard. Designing Material Futures the Stedelijk commissioned emeritus professor Ab Stevels of TU Delft to write a set of Research Logs about the use of sustainable materials and the history of its design and application. Drawing from decades of experience in both design, industry, and academic fields, in this set of logs he addresses what designers and companies can do to become more sustainable. but also how as consumers, we can all become more vigilant of companies that might be greenwashing their activities.
Designing for the circular economy, better known as Circular Product Design (CPD), is a set of guiding principles relating to both the choice and use of materials as well as a product or service’s total life cycle, including its energy cycle. (EcoDesign relates only to one phase of the product life cycle). The goal of CPD is to use the discipline of design to derive the maximum possible value—both ecological and economic—from raw materials.
This demands attention refers to both the front end (Design for Resource Value, DfRV) and the back end (Design for Resource Conservation, DfRC) of a product or service’s total life cycle. DfRV is the part of the design effort referring aiming at maximizing the environmental and economic value in the first life cycle of the product. DfRC is the part aiming at maximum conservation and value in the life cycles following discarding by the first user.
DfRV focuses therefore on minimizing the use of natural resources, to achieve a certain economic value. The core goal of DfRC is maximizing ‘waste prevention’ that is designing products with longer lifetimes in their first life cycle. Simultaneously, optimizing ‘reuse’ in subsequent life cycles (ranging from reuse a product in its totality (highest level) to reuse of components and parts (next level) to reuse of constituent materials (recycling, lowest level).
This sounds pretty complicated and at first sight many ‘conflicts of interest’ seem to arise between the various strategies which can be followed. However, design practice shows that there is much ‘parallelism’. In the end some compromises have been struck (the nature of these is strongly dependent on the product category considered) but the good news is that the opportunities to deal (significantly) better with resources dominate clearly.
Thus, CPD works with ratios rather than absolute numbers: how much raw material is needed to achieve a certain economic result (e.g., added value). Or conversely, what amount of resources can be conserved by sacrificing a given economic value? This relative approach allows the environmental objective inherently present CPD to be better integrated into business objectives than in traditional Eco Design.
The ‘energy’ variable is a bit trickier. Decisions regarding the generation and distribution of energy are largely made at a governmental level, and technology plays a major role in determining how households and businesses receive this energy. In other words, the influence of designers on energy consumption is largely secondary.
CPD began in partial form back in 1995. The focus then was largely on ‘designing for material recycling’. This attracted interest, and in 1999, the Dutch government introduced a law requiring manufacturers to take back and recycle discarded electronic products; the rest of Europe followed suit in 2004.
Interest in other forms of reuse began to emerge in 2010. These included items like product life extension, repairability, and the reuse and remanufacturing of subassemblies and components. Initial efforts to implement the idea of designing for resource conservation were fairly top-down and academic in nature. Many focused on ideal practice. But there has since been a notable shift, and a lot more is starting to happen from the bottom up, with companies first assessing their performance (or lack thereof) in terms of circularity, and then identifying what can be done to improve their performance. In practice, the best approach to designing for resource conservation depends largely on the reasons why consumers discard a particular product. The task facing a designer for a producer whose products are typically discarded because they offer limited repairability (improve weak points in the design, increase access to repair) is different from that faced by the designer for a principal whose customers are demanding more functionality (design for upgradability), or one seeking to address issues of wear and tear (design for remanufacturing or material recycling). Other non-technical but common reasons why people discard particular products must also be taken into consideration. These include things like change in marital status (one gets married or moves in with their partner, one gets divorce, one dies) or simply a desire for something new/impulse buying. Each product category possesses a distinct profile defined by the reasons for discarding. The one for furniture, for instance, is vastly different from that for smartphones. Consequently, the optimal DfRC strategy must be determined on a case-by-case basis, and today many designers/businesses still have to go through a learning curve crafting such strategies. There is only on way to do this: learning by doing!
Also designing for resource value (DfRV) at the front end is a new concept. To achieve optimum results in this field, much attention has to be paid to the relative appreciation of potential buyers of a particular product for its functionality profile. For instance, customers who base their buying decisions on product quality will have a different appreciation of the outcome of DfRV than those seeking the lowest possible price. Products can then be tailored to the needs of buyers on the basis of interest profiles of customer groups (so-called ‘target group products’)
DfRV may still be in its infancy, but the importance of using raw materials as frugal as possible is beyond any doubt.
Image from the Remanufacturing, Reuse, Recycling lecture by Ab Stevels, Brasil, 2012.
Albert (“Ab”) Stevels studied Chemical Engineering at the Technical University of Eindhoven and took a PhD degree in Physics and Chemistry at Groningen University. He has worked for Royal Philips Electronics in manifold capacities in materials research, glass production technology, as a business manager in electro-optics, and as a project manager for joint ventures and licensing in Asia. These experiences helped him develop the concept of Applied EcoDesign and integrate it into day-to-day business operations. He has also conducted a great deal of in-depth research on the treatment of discarded electronics, the findings of which helped lay the groundwork for setting up take-back and recycling systems at Philips NL. In 1995 Ab was appointed professor in Environmental Design at Delft University of Technology. He has had visiting professorships at several universities including Stanford University, TU Berlin, Georgia Institute of Technology, NTN University in Trondheim, and Tsinghua University in Beijing. He also worked with the University of Sao Paulo to develop an MBA program and Sustainability course.
Stevels is the author of some 200 journal articles and conference contributions. For more on his experiences with green design and in-house management of ‘eco’ and e-waste, see his book Adventures in EcoDesign of Electronic Products.
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