ROADMAP RESEARH CIRCULAR

ECONOMY FOR THE CREATIVE

INDUSTRY

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STARTDOCUMENT

“Designers still work using the traditional ‘sell more sell faster’ model. The idea that there is no ‘end’ to a product or material, is still a completely new concept for many designers. The circular model will turn the design process upside down. This means that design education also has to be completely rethought. In the meantime, we need to ensure that our design methods and design strategies develop further.”

“How can we ensure that the “designer” will think and act at a (more) strategic level (… and thus will be accepted as a strategic design consultant)?

Many designers still work on designing products directly from a client-briefing. Circular design calls for a system approach, which may not even require a product. The core competencies of the future circular designer are: strategic thinking, analytical ability, proactivity, creativity, collaboration and communication.”

“As designers, we can make connections; we can bridge the gap between the theory and daily practice of the design and development process. How can we ensure that all stakeholders are committed to developing a ‘circular economy mindset’ throughout the chain: from production, use, and to end-of-life?”

“The creative industry can play an important role in deploying residual flows and closing cycles. We need a greater understanding about how to develop systems for using residual materials, which include both user feedback and acceptance.

In short: how can we develop more products from residual materials that are designed so that they are attractive to the user?”

When to apply which design strategies in the context of a circular economy?

-> Depends on the route towards a circular economy

-> ‘Open’ and ‘Closed’ scenario

-> Implications for design

“Open loop, open source” scenario

-> Enable consumers to be active participants in the creation of a circular economy

-> Customer value: empowerment

“Open loop, open source” scenario

-> Responsibility for care, maintenance, repair, upgrade rests with consumers and network of (often informal) third parties.

-> Repair information, spare part availability, product lifetime labeling, extended warranty.

[image Bottom up repair cafes / consumers take responsibility. For repair and asking for information]

IMAGE FAIRPHONE

Open loop, open source

+ Consumer engagement => product attachment

+ Stimulate entrepreneurship (gap exploiters)

- Transferring risks to consumers

- Consumer ‘scapegoatism’

“reversibility is key”

“go for modularity”

“allow everything to be separated and reassembled again”

“openness is the key to circularity”

“Closed loop, closed source” scenario

-> Responsibility of the OEM to shape a circular economy and provide customers with a high-quality, comfortable & circular product experience

-> Customer value: unburdening

“Closed loop, closed source” scenario

-> maintenance, upgrade, and repair is done by OEMs in both B2B and B2C markets

-> Access and performance models

IMAGE SCHIPHOL]

[IMAGE HP RETURNING CARTRIDGES]

“Closed loop, closed source” scenario

+ OEM in control: optimize closed loop systems

+ Take away ’burden of ownership’

+ More jobs in service industry

- Customers not allowed to compromise product integrity

“upgradable”

“modular”

“easy to disassemble”

“easy to service”

Design strategies compared

-> At first glance: many similarities

-> Both value product durability, adaptability, ease ofmaintenance and upgradeability

Is product design the same for both ‘open’ and ‘closed’ scenarios?

-> No, because the context is very different.

Example

”Open” scenario: self-repair (“empowerment”)

“Closed” scenario: serviced repair (“unburdening”)

-> Design for ease of maintenance and repair is very different in both cases

Conclusion

Product design decisions are highly dependent on the route towards the circular economy.

Designers need to be able to explore the different ways forward.

Empowerment vs Unburdening?

Examples

-> Introduce different levels of self-repair

-> Embrace second hand market (support reuse)

-> Team up with service partners to explore new business models

-> ‘Open’ design and ‘closed’ service

IMAGE CAR]

Challenge in circular developmentWe (designers, producers, users) should get rid of the idea that materials in products should be new and see the value of reusing discarded materials. What kind of new materials can result from this, what is their added value, and what kind of innovations will be made possible? I find it especially interesting if discarded or recycled materials add value. For example, with regard to touch & feel (haptics) or aesthetics and ‘the perfection of imperfection’.

Role of the creative professionalTo experiment with second chance materials and shape its unique value in circular designs and business strategies. For example by using the perfection of imperfection.

Challenge in circular developmentWorking together in a circular chain. With regard to festivals, this means meeting with many different stakeholders: festival organizer, municipality, brand owner, product manufacturer, and the waste collector or those involved in reuse, recycling.

Role of the creative professionalThe creative professional is responsible for initiating and facilitating this collaboration with those involved in the circular chain. The creative professional needs information from all these stakeholders in order to ensure a good product / service combination. This information shouldn’t be collected in individual steps; the entire group should work together. This is best done on-site, so everyone can gain insights into the other’s role and so together, create an optimal solution.

Challenge in circular developmentIt’s a challenge for the textile world, within its existing

structures, to work together with creative professionals to find solutions for the (further) development of materials.

Role of the creative professionalAddress the challenges within existing chains, even if a material is not yet good enough. That’s exactly when creative input is needed: to develop realistic solutions and examples, and factor in upscaling, even in cases where it may appear more attractive to find or create a completely different chain.

Challenge in circular developmentWe need to look further than purely the technical side of how companies design circular products, a more market-driven approach. Looking at what consumers demand and need. How can we, with these circular products, make a unique contribution, something that consumers don’t get from regular products? In this way, circular products and services will be seen to add value and will be more quickly accepted by consumers.

Role of the creative professionalFirstly, to position the consumer’s role more prominently: the consumer needs to be given a prominent position when new products and services are being developed. In addition, creative professionals can also contribute to creating added value. This requires a new way of looking at products; that’s what creative professionals can do - like no other. In order to take on this role, they must be aware that a great deal more is expected from their ‘new’ products; the old way of doing things is no longer acceptable.

Challenge in circular developmentBeing able to incorporate uncertanties within your design process: using second-hand materials in architecture means you won’t always know what materials and products you will have at hand when it comes to realization.

Role of the creative professionalArchitects need to be able to convince their clients of the benefits of circularity. Therefore they have to deepen their financial / business knowledge to fulfil their (circular) advisory role on their clients behalf.