http://www.gowerpublishing.

com/isbn/9780566087042

Design for
Sustainability
A  Practical  Approach

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ȱand    
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Introduction CHAPTER

1
‘There  are  professions  more  harmful  than  industrial  design,  but  only  
a  very  few…  by  creating  whole  new  species  of  permanent  garbage  to  
Œ•žĴŽ›ȱž™ȱ‘Žȱ•Š—œŒŠ™ŽǰȱŠ—ȱ‹¢ȱŒ‘˜˜œ’—ȱ–ŠŽ›’Š•œȱŠ—ȱ™›˜ŒŽœœŽœȱ‘Šȱ
pollute  the  air  we  breath,  designers  have  become  a  dangerous  breed…  
In  this  age  of  mass  production  when  everything  must  be  planned  and  
designed,   design   has   become   the   most   powerful   tool   with   which   man  
shapes   his   tools   and   environments   (and,   by   extension,   society   and  
himself).  This  demands  high  social  and  moral  responsibility  from  the  
designer.’  
Victor Papanek (p. ix, Papanek, 1985)

Design  for  sustainability  is  part  of  the  bigger  picture  of  sustainable  development,  
Šȱœž‹“ŽŒȱ ‘’Œ‘ȱ‘Šœȱ›ŽŒŽ’ŸŽȱŒ˜—œ’Ž›Š‹•Žȱ–Ž’ŠȱŠĴŽ—’˜—ȱ’—ȱ›ŽŒŽ—ȱ¢ŽŠ›œȱžŽȱ
to  a  range  of  world  wide  crises  which  have  manifested  themselves  as  political  
problems:  climate  change,  famine,  disease  and  poverty.

‘Žȱ ŽŸ˜•ž’˜—ȱ ˜ȱ œžœŠ’—Š‹’•’¢ȱ ‘Šœȱ ‹ŽŽ—ȱ ŽœŒ›’‹Žȱ Šœȱ Šȱ œŽ›’Žœȱ ˜ȱ ‘›ŽŽȱ
 ŠŸŽœǰȱ ’‘ȱ™ŽŠ”œȱŠ—ȱ›˜ž‘œȱ˜ȱŠŒ’Ÿ’¢ǰȱ‘ŠȱŒ˜—›’‹žŽȱ˜ȱ‘Žȱ–˜–Ž—ž–ȱ
 ŽȱœŽŽȱ˜Š¢ȱǻžœŠ’—‹’•’¢ǰȱŘŖŖŜǼǯȱ‘Žȱꛜȱ ŠŸŽȱ˜ŒŒž››Žȱ’—ȱ‘ŽȱŗşŜŖœȱŠ—ȱ
ŗşŝŖœȱ ’‘ȱ‘Žȱ‹’›‘ȱ˜ȱ‘Žȱ ›ŽŽ—ȱ˜ŸŽ–Ž—ȱŠ—ȱ‘Žȱ›’œŽȱ˜ȱ˜—ȱ ˜ŸŽ›—–Ž—Š•ȱ
›Š—’œŠ’˜—œȱ ǻ œǼǰȱ œžŒ‘ȱ Šœȱ ›’Ž—œȱ ˜ȱ ‘Žȱ Š›‘ȱ Š—ȱ ›ŽŽ—™ŽŠŒŽǰȱ  ‘’Œ‘ȱ
focused  on  driving  change  via  government  policy  and  regulation.

‘Žȱ œŽŒ˜—ȱ  ŠŸŽȱ ˜ŒŒž››Žȱ ’—ȱ ‘Žȱ ŗşŞŖœǰȱ œŽȱ ˜ěȱ ‹¢ȱ Šȱ ›Š—Žȱ ˜ȱ ŽŒ˜—˜–’Œȱ
Œ›’œŽœȱ ǻ‹›˜ž‘ȱ ˜—ȱ ‹¢ȱ ‘Žȱ Œ˜••Š™œŽȱ ˜ȱ ‘Žȱ Ž›•’—ȱ Š••Ǽȱ Š—ȱ Ž—Ÿ’›˜—–Ž—Š•ȱ
ŒŠŠœ›˜™‘Žœȱǻ›˜–ȱ‘˜™Š•ȱ˜ȱ‘Ž›—˜‹¢•Ǽȱ ‘’Œ‘ȱ™›˜–™ŽȱŠȱ›Š—Žȱ˜ȱ•Ž’œ•Š’˜—ȱ
and  environmental,  healthy  and  safety  standards.  At  this  time  NGOs  used  a  
—ž–‹Ž›ȱ˜ȱ‘’‘ȱ™›˜ę•Žȱ‹žœ’—Žœœȱ›Š—œ›Žœœ’˜—œȱ˜ȱŒŠŠ•¢œŽȱ™ž‹•’ŒȱŽ‹ŠŽȱŠ—ȱ
›’ŸŽȱ›Žž•Š˜›¢ȱŠ—ȱ–Š›”Žȱ›Žœ™˜—œŽœǯȱ‘ŽȱŒ˜—ŒŽ™œȱ˜ȱŠž’’—ǰȱ›Ž™˜›’—ȱŠ—ȱ
Ž—ŠŽ–Ž—ȱ ’‘’—ȱ‹žœ’—ŽœœȱŽ—Ž›Žȱ‘Žȱ–Š’—œ›ŽŠ–ȱǻžœŠ’—‹’•’¢ǰȱŘŖŖŜǼǯ
2 D E S I G N F O R S U S TA I N A B I L I T Y

‘Žȱ—Ž ȱ–’••Ž——’ž–ȱœŠ ȱ‘ŽȱœŠ›ȱ˜ȱ‘Žȱ‘’›ȱ ŠŸŽȱ˜ȱœžœŠ’—Š‹’•’¢ǯȱ—›Žœȱ
’—ȱ ‘Žȱ ’•Žȱ Šœȱ Š—ȱ Ž•œŽ ‘Ž›Žȱ ‘Šȱ •Žȱ ˜ȱ Šȱ ›˜ ‘ȱ ’—ȱ Š—’Ȭ•˜‹Š•’œŠ’˜—ǰȱ
˜ĞŽ—ȱ ’—ȱ ‘Žȱ ž’œŽȱ ˜ȱ Š—’Ȭ–Ž›’ŒŠ—’œ–ǯȱ ‘Žȱ ꛜȱ ˜›•ȱ ˜Œ’Š•ȱ ˜›ž–ǰȱ
˜›Š—’œŽȱ ’—ȱ ˜™™˜œ’’˜—ȱ ˜ȱ ‘Žȱ ˜›•ȱ Œ˜—˜–’Œȱ ˜›ž–ȱ ‹›˜ž‘ȱ ˜Ž‘Ž›ȱ
activists   and   NGOs   from   around   the   world,   campaigning   on   issues   such   as  
trade  justice  and  debt,  and  increasingly  united  on  issues  of  water  scarcity  and  
Ž¡™•˜’Š’˜—ǯȱ —ȱ ‘Žȱ  Š”Žȱ ˜ȱ Š—˜‘Ž›ȱ œŽȱ ˜ȱ ‘’‘ȱ ™›˜ę•Žȱ ‹žœ’—Žœœȱ ꊜŒ˜œȱ œžŒ‘ȱ
as   the   Enron   debacle,   corporate   governance   and   liability   became   a   hot   issue  
˜›ȱ˜™ȱ–Š—ŠŽ–Ž—ȱŠ—ȱ˜›ȱꗊ—Œ’Š•ȱ–Š›”ŽœǯȱŽŠ— ‘’•Žǰȱ‹žœ’—ŽœœŽœȱœŠ›Žȱ
to   explore   new   partnerships   with   NGOs,   for   example   Greenpeace   and   Shell  
shared  a  platform  at  the  Johannesburg  Summit,  also  Greenpeace  formed  a  joint  
venture   with   Innogy   to   create   the   Juice   wind   power   brand,   which   recently  
‹ŽŠ—ȱ˜ȱŽŽȱ™˜ Ž›ȱŽ—Ž›ŠŽȱ‹¢ȱŠȱ‘žŽȱ˜ěœ‘˜›Žȱ ’—ȱŠ›–ȱ’—˜ȱ‘Žȱ—Š’˜—Š•ȱ
›’ȱǻžœŠ’—‹’•’¢ǰȱŘŖŖŜǼǯ

’—ŒŽȱ ‘Žȱ •ŠŽȱ ŗşŜŖœȱ  ‘Ž—ȱ ’Œ˜›ȱ Š™Š—Ž”ȱ ǻŗşŝŗǼȱ ꛜȱ ‹•Š–Žȱ ‘Žȱ Žœ’—ȱ
profession  for  creating  wasteful  products  and  customer  dissatisfaction,  there  
has   been   a   growing   feeling   in   many   environmental   circles   that   design   and  
–Š—žŠŒž›Žȱ ’œȱ ›Žœ™˜—œ’‹•Žȱ ˜›ȱ –Š—¢ȱ ˜ȱ ‘Žȱ –Š—Ȭ–ŠŽȱ œ›ŽœœŽœȱ ’–™˜œŽȱ ˜—ȱ
the  planet.  A  fact  that  is  well  illustrated  by  the  fact  80  per  cent  of  products  are  
’œŒŠ›ŽȱŠĞŽ›ȱŠȱœ’—•ŽȱžœŽȱŠ—ȱşşȱ™Ž›ȱŒŽ—ȱ˜ȱ–ŠŽ›’Š•œȱžœŽȱŠ›Žȱ’œŒŠ›Žȱ’—ȱ
‘Žȱꛜȱœ’¡ȱ ŽŽ”œȱǻ‘˜ȱ’—ȱ‘ŽȱŠ›”ǰȱŘŖŖŖǼǯȱ‘˜ž‘ȱ‘’œȱ›Ž—ȱ’œȱŽ¡™ŽŒŽȱ˜ȱ
start  to  change  with  the  introduction  of  new  product  focused  environmental  
legislation,   the   fact   still   remains   that   mainstream   product   design   draws   on  
œŒŠ›ŒŽȱ ›Žœ˜ž›ŒŽœȱ ˜ȱ Œ›ŽŠŽȱ Š—ȱ ™˜ Ž›ȱ ™›˜žŒœȱ  ‘’Œ‘ȱ ˜ĞŽ—ȱ ‘ŠŸŽȱ •’Ĵ•Žȱ ˜›ȱ —˜ȱ
consideration  for  impact  on  society  and  the  environment.

'H¿QLQJ,QGXVWULDO'HVLJQ
‘›˜ž‘˜žȱ ‘Žȱ —’—ŽŽŽ—‘ȱ ŒŽ—ž›¢ǰȱ ‘Žȱ Ž›–ȱ ȁŽœ’—Ž›Ȃȱ  Šœȱ ŸŠžŽȱ Š—ȱ
Š–‹’ž˜žœǰȱ ›ŽŽ››’—ȱ ˜ȱ Šȱ  ’Žȱ ›Š—Žȱ ˜ȱ ˜ŒŒž™Š’˜—œDZȱ ꗎȱ Š›’œœǰȱ Š›Œ‘’ŽŒœǰȱ
Œ›ŠĞœ–Ž—ǰȱŽ—’—ŽŽ›œȱŠ—ȱ’—ŸŽ—˜›œȱǻ™Š›”ŽǰȱŗşŞřǼǯȱ¢ȱ‘Žȱ Ž—’Ž‘ȱŒŽ—ž›¢ȱ‘Žȱ
™›˜Žœœ’˜—ȱ˜ȱŽœ’—ȱ‘ŠȱŽŸŽ•˜™Žȱ’—˜ȱ—žœ›’Š•ȱŽœ’—ȱŠœȱ Žȱ”—˜ ȱ’ȱ˜Š¢ǰȱ
Ž¡’œ’—ȱ ’—ȱ Žœ’—ȱ ŽŠ–œȱ Š—ȱ ˜ŸŽ›—Žȱ ‹¢ȱ –Š—ŠŽ–Ž—ȱ œ›žŒž›Žȱ ǻ™Š›”Žǰȱ
1983).

—žœ›’Š•ȱŽœ’—ȱ’œȱŠȱ‹›˜ŠȱŠ—ȱŒ˜–™•Ž¡ȱ™›˜Žœœ’˜—ȱǻ
Žœ”ŽĴǰȱŗşşŗDzȱ˜ŸŽ¢ǰȱ
1997;   Industrial   Design   Society   of  America,   1999)   whose   evolution   has   been  
’—ĚžŽ—ŒŽȱ‹¢ȱ‘Žȱ›’’œ‘ȱ›œȱŠ—ȱ›ŠĞœȱ–˜ŸŽ–Ž—ǰȱŽŸŽ•˜™–Ž—œȱ’—ȱ‘Žȱȱ
Š—ȱ‘Žȱ’—ĚžŽ—ŒŽœȱ˜ȱ‘ŽȱŠž‘ŠžœȱœŒ‘˜˜•ȱ˜ȱŽœ’—ȱ’—ȱ Ž›–Š—¢ȱǻ
Žœ”ŽĴǰȱŗşşŗDzȱ
˜ŸŽ¢ǰȱ ŗşşŝǼǯȱ ȱ ’œȱ ‹ŽŒŠžœŽȱ ˜ȱ ‘ŽœŽȱ Œ˜–™•Ž¡ȱ ›˜˜œȱ ‘Šȱ —žœ›’Š•ȱ Žœ’—ȱ ‘Šœȱ
 INTRODUCTION 3

been   described   as   a   pendulum   which   swings   between   art   and   engineering  

ǻ£ŒŠ—ǰȱŗşşşǼǯȱ‘’œȱ’œȱŠȱ›’Œ‘ȱ–ŽŠ™‘˜›ȱ‘ŠȱŒ›ŽŠŽœȱŠȱŸŠ•žŠ‹•Žȱ™’Œž›Žȱ˜ȱ‘˜ ȱ
’쎛Ž—ȱꎕœȱ’—ĚžŽ—ŒŽȱ‘Žȱœž‹“ŽŒǯȱȱŒŠ—ȱ‹Žȱ–ŠŽȱŽŸŽ—ȱ–˜›Žȱ™˜ Ž›ž•ǰȱ’ȱ˜—Žȱ
imagines  Industrial  Design  to  be  represented  by  a  steel  plumb  which  is  hung  
as   a   pendulum,   surrounded   by   a   series   of   magnetic   discs,   which   represent  
‘Žȱ ˜‘Ž›ȱ ˜›ŒŽœȱ  ‘’Œ‘ȱ ŠŒȱ ž™˜—ȱ ’ǰȱ œžŒ‘ȱ Šœȱ ‘Žȱ ‹žœ’—Žœœǰȱ –Š›”Ž’—ȱ Š—ȱ ‘Žȱ
Œ˜—œž–Ž›ǰȱŠœȱ’••žœ›ŠŽȱ’—ȱ’ž›Žȱŗǯŗȱǻ˜Ğ‘˜žœŽǰȱŘŖŖŗǼǯ

’ž›Žȱŗǯŗȱ ‘Žȱ˜›ŒŽœȱ’—ĚžŽ—Œ’—ȱ—žœ›’Š•ȱŽœ’—

’‘’—ȱ ’—žœ›¢ǰȱ ’—žœ›’Š•ȱ Žœ’—Ž›œȱ Ž—ȱ ˜ȱ Ž’‘Ž›ȱ  ˜›”ȱ ȁ’—Ȭ‘˜žœŽȂǰȱ Šœȱ Šȱ
function  of  a  larger  organisation  or  as  independent  design  consultants  within  a  
Žœ’—ȱŒ˜—œž•Š—Œ¢ȱ‘ŠȱœŽ›Ÿ’ŒŽœȱŠȱŸŠ›’Ž¢ȱ˜ȱ’쎛Ž—ȱŒ•’Ž—œȱǻ˜Ğ‘˜žœŽǰȱŘŖŖŗǼǯȱ
Within   both   of   these   capacities   industrial   designers   can   be   involved   in   the  
Žœ’—ȱ Š—ȱ ŽŸŽ•˜™–Ž—ȱ ˜ȱ ‹˜‘ȱ Œ˜—œž–Ž›ȱ Š—ȱ ’—žœ›’Š•ȱ ˜˜œȱ ǻ˜Ğ‘˜žœŽǰȱ
ŘŖŖŗǼǯȱ‘’œȱ‹˜˜”ȱ˜ŒžœŽœȱ˜—ȱŒ˜—œž–Ž›ȱ™›˜žŒœǯȱ’‘’—ȱ‘’œȱœŽŒ˜›ǰȱ’—žœ›’Š•ȱ
designers   can   serve   a   wide   range   of   industries   such   as   pharmaceuticals,  
™ŠŒ”Š’—ǰȱ Š—ȱ Ž•ŽŒ›’ŒŠ•ȱ Š—ȱ Ž•ŽŒ›˜—’Œȱ ˜–Žœ’Œȱ ™›˜žŒœǰȱ Šœȱ œžŒ‘ȱ ‘Ž’›ȱ
outputs  can  vary  enormously  in  terms  of  their  nature  and  complexity.

'HVLJQIRU6XVWDLQDELOLW\(PHUJHV
‘Žȱ Œ˜—ŒŽ™ȱ ˜ȱ Žœ’—ȱ ˜›ȱ œžœŠ’—Š‹’•’¢ȱ ꛜȱ Ž–Ž›Žȱ ’—ȱ ‘Žȱ ŗşŜŖœȱ  ‘Ž—ȱ
ŠŒ”Š›ȱǻŗşŜřǼDzȱŠ™Š—Ž”ȱǻŗşŝŗǼDzȱ˜—œ’Ž™ŽȱǻŗşŝřǼȱŠ—ȱŒ‘ž–ŠŒ‘Ž›ȱǻŗşŝřǼȱ‹ŽŠ—ȱ
to  criticise  modern  and  unsustainable  development  and  suggest  alternatives.  
4 D E S I G N F O R S U S TA I N A B I L I T Y

‘ŽȱœŽŒ˜—ȱ ŠŸŽȱŽ–Ž›Žȱ’—ȱ‘Žȱ•ŠŽȱŗşŞŖœȱŠ—ȱŽŠ›•¢ȱŗşşŖœȱŠ—ȱŒ˜’—Œ’Žȱ ’‘ȱ
‘Žȱ›ŽŽ—ȱŒ˜—œž–Ž›ȱ›ŽŸ˜•ž’˜—ǯȱ›’Ž›œȱœžŒ‘ȱŠœȱŠ—£’—’ȱǻŗşşŖǼDzȱž›Š••ȱǻŗşşŗǼǰȱ
ŠŒ”Ž—£’Žȱ ǻŗşşŗǼȱ Š—ȱ ¢Š—ȱ ǻŗşşřǼȱ ‹ŽŠ—ȱ ˜ȱ ŒŠ••ȱ ˜›ȱ Žœ’—ȱ ˜ȱ –Š”Žȱ ›Š’ŒŠ•ȱ
Œ‘Š—Žœǯȱ‘’œȱ ŠŸŽȱŒ˜—’—žŽȱ˜ȱŠ’—ȱ–˜–Ž—ž–ȱ˜ Š›œȱ‘ŽȱŽ—ȱ˜ȱ‘ŽȱŗşşŖœȱ
Š—ȱŽŠ›•¢ȱŘŖŖŖœȱŠœȱŽœ’—ȱ˜›ȱœžœŠ’—Š‹’•’¢ȱ‹ŽŒŠ–Žȱ–˜›Žȱ ’Žœ™›ŽŠǯȱ‘˜ž‘ȱ
there  has  been  a  long  history  of  designers  being  motivated  and  interested  in  
improving  the  environmental  and  social  impact  of  the  products  they  produce,  
‘Ž›Žȱ ‘Šœȱ ‹ŽŽ—ȱ Šȱ •ŠŒ”ȱ ˜ȱ ˜™™˜›ž—’¢ȱ  ’‘’—ȱ ‘Žȱ ’—žœ›’Š•ȱ Œ˜—Ž¡ȱ  ’‘ȱ ŒŠœŽȱ
studies   only   starting   to   emerge   from   electronic   and   electrical   companies   in  
‘Žȱ ŽŠ›•¢ȱ ŗşşŖœȱ  ‘Ž—ȱ Œ˜–™Š—’Žœȱ œžŒ‘ȱ Šœȱ ‘’•’™œǰȱ •ŽŒ›˜•ž¡ǰȱ ȱ Š—ȱ Ž›˜¡ȱ
‹ŽŠ—ȱ˜ȱ™›˜–˜Žȱ‘Žȱ ˜›”ȱ‘Ž¢ȱ‘Šȱ˜—Žȱ’—ȱ‘’œȱŠ›ŽŠǯȱ•‘˜ž‘ȱ•Š›Žȱ’—žœ›¢ȱ
commitment   to   integrating   environmental   and   social   issues   into   product  
ŽŸŽ•˜™–Ž—ȱ‘ŠœȱŒ˜—’—žŽȱ˜ȱ‹Žȱ˜—ȱ‘Žȱ›’œŽȱ‘Ž›Žȱ‘Šœȱ‹ŽŽ—ȱ•’Ĵ•ŽȱŽŸ’Ž—ŒŽȱ˜ȱ
 ’Žœ™›ŽŠȱ ˜™™˜›ž—’¢ȱ ˜›ȱ ‘’œȱ ¢™Žȱ ˜ȱ ‘˜•’œ’Œȱ ‘’—”’—ǰȱ ’—ȱ ‘Žȱ Œ˜––Ž›Œ’Š•ȱ
design  industry.

Design   for   sustainability   issues   are   currently   rarely   addressed   in   the  

Žœ’—ȱ‹›’ŽȱǻŽ ‹Ž››¢ǰȱŗşşŜDzȱ˜Ğ‘˜žœŽǰȱŘŖŖŗǼȱŠ—ȱŠœȱœžŒ‘ȱ’ȱ’œȱ˜ĞŽ—ȱ’ĜŒž•ȱ
for   designers   to   have   the   opportunity   to   engage   with   environmentally   and  
œ˜Œ’Š••¢ȱ›Žœ™˜—œ’‹•ŽȱŽœ’—ȱ’—ȱŠȱ™›˜Žœœ’˜—Š•ȱŒŠ™ŠŒ’¢ǯȱ‘’œȱ‹˜˜”ȱŠ’–œȱ˜ȱŒ‘Š—Žȱ
this   situation   and   encourage   a   more   widespread   approach   to   design   for  
sustainability.

In   the   past   environmental   and   socially   responsible   design   has   not   been  
œ™ŽŒ’ęŒŠ••¢ȱ Ž—Œ˜ž›ŠŽȱ ‘›˜ž‘ȱ Žœ’—ȱ ŽžŒŠ’˜—ȱ Š—ȱ ›Š’—’—ǯȱ ‘’œȱ ’œȱ —˜ ȱ
Œ‘Š—’—ȱȮȱ˜›ȱŽ¡Š–™•Žȱ’—ȱ‘Žȱ ȱ™›˜›Š––ŽœȱœžŒ‘ȱŠœȱȱŠ—ȱžœŠ’—Š‹•Žȱ
Žœ’—ȱ Š›œȱŽŸŽ•˜™ŽȱŠ—ȱ›ž—ȱ‹¢ȱ‘ŽȱŒ‘Š›’¢ȱ›ŠŒ’ŒŠ•ȱŒ’˜—ȱŠ›ŽȱœŽȱž™ȱ˜ȱ
Ž—Œ˜ž›ŠŽȱ œžœŠ’—Š‹’•’¢ȱ Š Š›Ž—Žœœȱ ’—ȱ ¢˜ž—ȱ Žœ’—Ž›œȱ  ˜›”’—ȱ Šȱ Š’˜—Š•ȱ
ž››’Œž•ž–ȱ”Ž¢ȱœŠŽȱřȱŠ—ȱŚȱǻŠŽœȱŗŗƺŗŜǼȱŠ—ȱȬ•ŽŸŽ•œȱ›Žœ™ŽŒ’ŸŽ•¢ǯȱ’–’•Š›•¢ȱ
™›˜“ŽŒœȱœžŒ‘ȱŠœȱǰȱŠ—ȱ‘Žȱ™’˜—ŽŽ›’—ȱ ˜›”ȱ˜ȱ‘ŽȱŽ—›Žȱ˜›ȱžœŠ’—Š‹•Žȱ
Žœ’—ǰȱ ˜•œ–’‘œȱ˜••ŽŽǰȱ˜ž‘‹˜›˜ž‘ȱ—’ŸŽ›œ’¢ȱŠ—ȱ‘ŽȱœŽĴ’—ȱž™ȱ˜ȱ
Šȱ˜˜•‹˜¡ȱ˜›ȱžœŠ’—Š‹•ŽȱŽœ’—ȱǻ‘Š–›ŠȱŠ—ȱ˜Ğ‘˜žœŽǰȱŘŖŖŚǼȱȮȱ ‘’Œ‘ȱŠ’–œȱ
˜ȱ ‘Ž•™ȱ ˜‘Ž›ȱ •ŽŒž›Ž›œȱ ŽŸŽ•˜™ȱ œžœŠ’—Š‹•Žȱ Žœ’—ȱ Œ˜ž›œŽœȱ ƺȱ ‘ŠŸŽȱ ‘Ž•™Žȱ ˜ȱ
change  this  situation.

ŽœŽŠ›Œ‘ȱ’—ȱ‘Žȱꎕȱ˜ȱŽœ’—ȱ˜›ȱœžœŠ’—Š‹’•’¢ȱ’œȱ—˜ ȱ Ž••ȱŽœŠ‹•’œ‘Žǰȱ
‘˜ž‘ȱ ’ȱ ŒŠ—ȱ œ’••ȱ ‹Žȱ Œ˜—œ’Ž›Žȱ Šȱ —Ž ȱ Š›ŽŠǯȱ ˜œȱ ˜ȱ ‘Žȱ ŽŸŽ•˜™Žȱ —Š’˜—œȱ
now  have  some  form  of  active  research  into  design  for  sustainability,  covering  
’œœžŽœȱœžŒ‘ȱŠœDZȱ’–™•Ž–Ž—Š’˜—ȱ˜ȱ•Ž’œ•Š’˜—ǰȱŽŒ˜Ȭ’——˜ŸŠ’˜—ǰȱŒ˜›™˜›ŠŽȱœ˜Œ’Š•ȱ
›Žœ™˜—œ’‹’•’¢ǰȱ™›˜žŒȱœŽ›Ÿ’ŒŽȱœ¢œŽ–œǰȱŽŒ˜Ȭ›ŽŽœ’—ǰȱ’–™ŠŒœȱ˜ȱžœŽ›ȱ‹Ž‘ŠŸ’˜ž›ǰȱ
design  for  disassembly  and  reverse  manufacturing.
 INTRODUCTION 5

&KDOOHQJHIRU'HVLJQ
Š›ȱ˜ȱ‘ŽȱŒ‘Š••Ž—Žȱ˜›ȱŽœ’—Ž›œȱ’œȱ˜›ȱ‘Ž–ȱ˜ȱž••¢ȱž—Ž›œŠ—ȱ‘Žȱ‹›ŽŠ‘ȱ
˜ȱ ‘Žȱ ŠŽ—Šȱ Š—ȱ Š™™›ŽŒ’ŠŽȱ  ‘Šȱ ŒŠ—ȱ ‹Žȱ ŠŒ”•Žȱ ž—Ž›ȱ ‘Žȱ ž–‹›Ž••Šȱ ˜ȱ
Žœ’—ȱ˜›ȱœžœŠ’—Š‹’•’¢ǯȱ’‘’—ȱ‘ŽȱŽœ’—ȱŒ˜––ž—’¢ȱ‘Ž›Žȱ’œȱŠȱŽ—Ž›Š•ȱ•ŠŒ”ȱ
of   awareness   of   many   issues   relating   to   sustainable   development.   Designers  
need  to  understand  and  even  communicate  to  their  colleagues  that  design  for  
sustainability  is  about  more  than  recycling  or  using  recycled  materials.

Žœ’—ȱ˜›ȱœžœŠ’—Š‹’•’¢ȱ˜ěŽ›œȱŠȱ—Ž ȱŠ—ȱ‹›˜ŠŽ›ȱŒ˜—Ž¡ȱ˜›ȱŽœ’—’—ǯȱ
’›”Ž•Š—ȱ ǻŘŖŖŘǼȱ Ž—ŒŠ™œž•ŠŽœȱ ‘’œȱ ‹¢ȱ ™›ŽœŽ—’—ȱ Šȱ —Ž ȱ Ÿ’œ’˜—ȱ ˜›ȱ Žœ’—ȱ
which  is:
• Žœ™˜—œ’‹•Žȱƺȱ›ŽŽę—’—ȱ˜Š•œȱŠ›˜ž—ȱ—ŽŽœǰȱœ˜Œ’Š•ȦŽŒ˜ȱŽšž’¢ȱŠ—ȱ
justice.

• ¢—Ž›’œ’Œȱ ƺȱ Œ›ŽŠ’—ȱ ™˜œ’’ŸŽȱ œ¢—Ž›’ŽœDzȱ ’—Ÿ˜•Ÿ’—ȱ ’쎛Ž—ȱ

elements  to  create  systems  change.

• ˜—Ž¡žŠ•ȱ ƺȱ ›ŽȬŽŸŠ•žŠ’—ȱ Žœ’—ȱ Œ˜—ŸŽ—’˜—œȱ Š—ȱ Œ˜—ŒŽ™œȱ

towards  social  transformation.

•
˜•’œ’ŒȱƺȱŠ”’—ȱŠȱ•’ŽȱŒ¢Œ•ŽȱŸ’Ž ȱ˜ȱŽ—œž›Žȱ•˜ ȱ’–™ŠŒǰȱ•˜ ȱŒ˜œǰȱ
–ž•’Ȭž—Œ’˜—Š•ȱ˜žŒ˜–Žœǯ

• –™˜ Ž›’—ȱƺȱ˜œŽ›œȱ‘ž–Š—ȱ™˜Ž—’Š•ǰȱœŽ•Ȭ›Ž•’Š—ŒŽȱŠ—ȱŽŒ˜•˜’ŒŠ•ȱ
understanding  in  appropriate  ways.

• Žœ˜›Š’ŸŽȱƺȱ’—Ž›ŠŽœȱ‘Žȱœ˜Œ’Š•ȱŠ—ȱ—Šž›Š•ȱ ˜›•Dzȱ›ŽŒž•’ŸŠŽœȱŠȱ
sense  of  wonder.

• Œ˜ȬŽĜŒ’Ž—ȱƺȱ™›˜ŠŒ’ŸŽ•¢ȱŠ’–œȱ˜ȱ’—Œ›ŽŠœŽȱ‘ŽȱŽŒ˜—˜–¢ȱ˜ȱŽ—Ž›¢ǰȱ
materials  and  costs.

• ›ŽŠ’ŸŽȱƺȱ›Ž™›ŽœŽ—œȱŠȱ—Ž ȱ™Š›Š’–ȱ‘Šȱ›Š—œŒŽ—œȱ›Š’’˜—Š•ȱ
‹˜ž—Š›’Žœȱ˜ȱ’œŒ’™•’—Žȱ‘’—”’—Dzȱ˜ȱȁ•ŽŠ™›˜Ȃǯ

• ’œ’˜—Š›¢ȱ ƺȱ ˜ŒžœŽœȱ ˜—ȱ Ÿ’œ’˜—œȱ Š—ȱ ˜žŒ˜–Žœȱ Š—ȱ Œ˜—ŒŽ’ŸŽœȱ ˜ȱ

appropriate  methods,  tools,  processes  to  deliver  them.

›Œ‘’ŽŒȱ ’••’Š–ȱ Œ˜—˜ž‘ȱ Š—ȱ Œ‘Ž–’œȱ ’Œ‘ŠŽ•ȱ ›Šž—Š›ȱ ǻŘŖŖŗǼȱ

œžŽœŽȱ ‘Šȱ  ’‘ȱ ‘’—œ’‘ȱ ‘Žȱ Žœ’—ȱ ‹›’Žȱ ˜›ȱ ‘Žȱ —žœ›’Š•ȱ ŽŸ˜•ž’˜—ȱ
Œ˜ž•ȱ‹Žȱ›Ž ›’ĴŽ—ǯȱŽœ’—ȱŠȱœ¢œŽ–ȱ˜ȱ™›˜žŒ’˜—ȱ‘ŠDZ
• puts   billions   of   pounds   of   toxic   material   into   the   air,   water   and  
soil;

• measures  prosperity  by  activity,  not  legacy;

6 D E S I G N F O R S U S TA I N A B I L I T Y

• ›Žšž’›Žœȱ ‘˜žœŠ—œȱ ˜ȱ Œ˜–™•Ž¡ȱ ›Žž•Š’˜—œȱ ˜ȱ ”ŽŽ™ȱ ™Ž˜™•Žȱ Š—ȱ

—Šž›Š•ȱœ¢œŽ–œȱ›˜–ȱ‹Ž’—ȱ™˜’œ˜—Žȱ˜˜ȱšž’Œ”•¢Dz

• produces   materials   so   dangerous   that   they   will   require   constant  

vigilance  from  future  generations;

• results  in  gigantic  amounts  of  waste;

• puts  valuable  materials  in  holes  all  over  the  planet,  where  they  can  
never  be  retrieved;

• erodes  the  diversity  of  biological  species  and  cultural  practices;

Not  exactly  a  very  positive  legacy  for  the  twentieth  century!

‘’œȱ ‹˜˜”ȱ Š’–œȱ ˜ȱ ›ŽŸŽ›œŽȱ ‘Žȱ ›Ž—ȱ ˜ȱ Žœ’—ȱ Œ˜—›’‹ž’—ȱ ˜ȱ •˜‹Š•ȱ
environmental   and   social   problems   by   inspiring   and   empowering   you   to  
–Š”ŽȱŠȱ’쎛Ž—ŒŽǯȱȱ‘˜™Žœȱ˜ȱŽ—•’‘Ž—ȱ¢˜žȱŠ‹˜žȱ‘ŽȱœžœŠ’—Š‹’•’¢ȱŽ—Ž›Š••¢ȱ
Š—ȱ œ‘˜ ȱ ¢˜žȱ ‘˜ ȱ ‹ŽĴŽ›ȱ Žœ’—ȱ ŒŠ—ȱ ’–™›˜ŸŽȱ ‘’—œǯȱ ¢ȱ Œ˜—œ’Ž›’—ȱ ‘Žȱ
Ž—Ÿ’›˜—–Ž—ȱ Š—ȱ œ˜Œ’Ž¢ȱ  ‘Ž—ȱ ¢˜žȱ Š›Žȱ Žœ’—’—ȱ ¢˜žȱ Š›Žȱ Š‹•Žȱ ˜ȱ ˜ěŽ›ȱ
your  clients  truly  good  design  that  meets  their  requirements  and  those  of  an  
increasingly   fragile   planet.   We   will   help   you   as   a   designer   to   engage   with  
œžœŠ’—Š‹’•’¢ȱŠ—ȱœŠ›ȱ˜ȱ–Š”ŽȱŒ‘Š—Žœǯ

5HIHUHQFHV
‘Š–›Šǰȱ ǯȱ ǯȱ Š—ȱ ˜Ğ‘˜žœŽǰȱ ǯȱ ǯȱ ǻŘŖŖŚǼǰȱ ȁ˜˜•‹˜¡ȱ ˜›ȱ žœŠ’—Š‹•Žȱ Žœ’—ȱ
žŒŠ’˜—ȂǯȱŸŠ’•Š‹•ŽȱŠDZȱ   ǯ•‹˜›˜ǯŠŒǯž”Ȧ›ŽœŽŠ›Œ‘ȦœžœŽœ’—ȦȦ—Ž¡ǯ
‘–ȱǻ˜ž‘‹˜›˜ž‘DZȱ˜ž‘‹˜›˜ž‘ȱ—’ŸŽ›œ’¢Ǽǯ

’›”Ž•Š—ǰȱ ǯȱ ǻŘŖŖŘǼǰȱ Design   for   Sustainability:   A   Sourcebook   of   Integrated,   Eco-­‐‑

Logical  Solutionsȱǻ‘ŽĜŽ•DZȱŠ›‘œŒŠ—ȱž‹•’ŒŠ’˜—œǼǯ

˜—œ’Ž™Žǰȱ ǯȱ ǻŗşŝřǼȱ ȁ›ŽŒŠ›’˜žœ—Žœœȱ Š—ȱ –‹’ž’¢DZȱ —žœ›’Š•ȱ Žœ’—ȱ ’—ȱ

Ž™Ž—Ž—ȱ˜ž—›’ŽœȂȱ’—ȱDesign  for  Needȱ’Œ”—Ž••ǰȱǯȱŠ—ȱŒ’œ˜—ǰȱǯȱǻŽœǯǼȱ
™™ǯȱŗřȬŗşȱǻ˜—˜—DZȱŽ›Š–˜—ȱ›Žœœǰȱ‘ŽȱǼǯ

ž›Š••ǰȱǯȱǻŗşşŗǼǰȱGreen  Designȱǻ˜—˜—DZȱŽœ’—ȱ˜ž—Œ’•Ǽǯ

Ž ‹Ž››¢ǰȱ ǯȱ ǯȱ ǻŗşşŜǼǰȱ Œ˜Žœ’—ȱ Ȯȱ ›ŽœŽ—ȱ Ĵ’žŽœȱ Š—ȱ žž›Žȱ ’›ŽŒ’˜—œ,  
˜Œ˜›Š•ȱ‘Žœ’œȱǻ’•˜—ȱ Ž¢—ŽœDZȱ‘ŽȱŽœ’—ȱ’œŒ’™•’—ŽȱŽŒ‘—˜•˜¢ȱŠŒž•¢ȱ
™Ž—ȱ—’ŸŽ›œ’¢Ǽǯ
 INTRODUCTION 7

Žœ”ŽĴǰȱǯȱǻŗşşŗǼǰȱIndustrial  Designȱǻ˜—˜—DZȱ‘Š–Žœȱǭȱ

žœ˜—Ǽǯ

Industrial  Design  Society  of  America  (1999),  IDSA  web  site.  Available  at:  www.
idsa.org

˜Ğ‘˜žœŽǰȱ ǯȱ ǯȱ ǻŘŖŖŗǼǰȱ Facilitating   Ecodesign   in   an   Industrial   Design   Context:  

An   Exploratory   Studyǰȱ ˜Œ˜›Š•ȱ ‘Žœ’œȱ ǻ›Š—ꎕDZȱ —ȱ —Ž›™›’œŽȱ —Ž›Š’˜—ȱ
›Š—ꎕȱ—’ŸŽ›œ’¢Ǽǯ

ŠŒ”Ž—£’Žǰȱ ǯȱ ǻŗşşŗǼǰȱ Green   Design:   Design   for   the   Environmentȱ ǻ˜—˜—DZȱ
Šž›Ž—ŒŽȱ ’—ȱž‹•’œ‘’—ȱǯǼǯ

Š—£’—’ǰȱ ǯȱ ǻŗşşŖǼǰȱ ȁ‘Žȱ Ž ȱ ›˜—’Ž›œDZȱ Žœ’—ȱ žœȱ ‘Š—Žȱ Š—ȱ Šž›ŽȂǰȱ
DesignǰȱśŖŗ,  p.  9.

Œ˜—˜ž‘ǰȱ ǯȱ Š—ȱ ›Šž—Š›ǰȱ ǯȱ ǻŘŖŖŗǼǰȱ ȁ‘Žȱ Ž¡ȱ —žœ›’Š•ȱ ŽŸ˜•ž’˜—Ȃȱ ’—ȱ
Sustainable   Solutions:   Developing   Products   and   Services   for   the   Futureȱ ‘Š›Ž›ǰȱ ǯȱ
Š—ȱ’œŒ‘—Ž›ǰȱǯȱǻŽœǰǼȱ™™ǯȱŗřşȮśŖȱǻ‘ŽĜŽ•DZȱ ›ŽŽ—•ŽŠȱž‹•’œ‘’—ȱǯǼǯ

£ŒŠ—ǰȱǯȱǯȱǻŗşşşǼǰȱ˜––ž—’ŒŠ’˜—ȱ˜—ȱ‘ŽȱȱŠ’•‹ŠœŽǯȱŒŒŽœœŽȱޝ‘ȱ
ž—Žȱŗşşşǰȱǯ

ŠŒ”Š›ǰȱǯȱǻŗşŜřǼǰȱThe  Waste  Makersȱǻ’•ŽœŽ¡DZȱŽ—ž’—Ǽǯ

Š™Š—Ž”ǰȱǯȱǻŗşŝŗǼǰȱDesign  for  the  Real  WorldȱǻŽ ȱ˜›”DZȱŠ—‘Ž˜—ȱ˜˜”œǼǯ

Š™Š—Ž”ǰȱǯȱǻŗşŞśǼǰȱDesign  for  the  Real  World:  Human  Ecology  and  Social  Change  
ǻ˜—˜—DZȱ‘Š–Žœȱǭȱ
žœ˜—Ǽǯ

¢Š—ǰȱǯȱǻŗşşřǼȱȁŽœ’—ȱŠ—ȱ‘Žȱ—œȱ˜ȱ›˜›ŽœœȂȱ’—ȱO2  Event:  Striking  Visions,  

›˜Ž—ǰȱǯǰȱžœŒ‘ǰȱǯȱŠ—ȱħ•œ›ŠǰȱǯȱǻŽœǼȱǻ‘ŽȱŽ‘Ž›•Š—œDZȱŘǼǯ

Œ‘ž–ŠŒ‘Ž›ǰȱ ǯȱ ǯȱ ǻŗşŝřǼǰȱ Small   is   Beautiful:   a   Study   of   Economics   as   if   People  

ŠĴŽ›Žȱǻ˜—˜—DZȱ™‘Ž›Žȱ˜˜”œǰȱǯǼǯ

‘˜ȱ ’—ȱ ‘Žȱ Š›”ȱ ǻŘŖŖŖǼǰȱ Design   on   the   Environment:   Ecodesign   for   Business  
ǻ‘ŽĜŽ•DZȱ‘˜ȱ’—ȱ‘ŽȱŠ›”Ǽ

™Š›”ŽǰȱǯȱǻŗşŞřǼǰȱConsultant  Design:  The  History  and  Practice  of  the  Designer  in  
Industryȱǻ˜—˜—DZȱŽ–‹›’Žȱ›Žœœȱ’–’ŽǼǯ
8 D E S I G N F O R S U S TA I N A B I L I T Y

žœŠ’—Š‹’•’¢ȱǻŘŖŖŜǼǰȱTrends  and  WavesǯȱŸŠ’•Š‹•ŽȱŠDZȱ   ǯœžœŠ’—Š‹’•’¢ǯŒ˜–Ȧ

’—œ’‘Ȧ›Ž—œȬŠ—Ȭ ŠŸŽœǯŠœ™ǯ

˜ŸŽ¢ǰȱǯȱǻŗşşŝǼǰȱȁ¢•’—ȱŠ—ȱŽœ’—DZȱ—ž’’˜—ȱŠ—ȱ—Š•¢œ’œȱ’—ȱ—žœ›’Š•ȱŽœ’—Ȃǰȱ

Design  StudiesǰȱŗŞǰȱ™™ǯȱśƺřŗǯȱǽDZȱŗŖǯŗŖŗŜȦŖŗŚŘȬŜşŚƖŘŞşŜƖŘşŖŖŖŖŜȬřǾ