Design for Disassembly
Design Culture and Theory
Sustainable design (also known as ‘green design’, ‘eco-design’ or ‘design for environment’/DfE) is the designing of objects and the built environment so they reflect the philosophy and practice of economic, social and ecological sustainability. Sustainable design minimizes the use of non-renewable resources, reduces environmental impact and works closely with the broader sustainability agendas. These agendas include approaches such as life cycle assessment and life cycle energy analysis, to evaluate the environment impact of various design choices (Edwards 196).
The methods of sustainability is conveyed in Stuart Walker’s paper, “The Environment, Product Aesthetics and Surface”, by considering the integration into the creative process rather than enabling consumers of underground mainstream to acknowledge the concept. The social responsibility to alter the increasing production, consumption and disposal of products and instead, prioritize product acquisition such as longevity, durability, ease of maintenance and repair, to create a positive implication for product design and aesthetics (Walker 16).
The new aesthetic for product design suggests a shift from limiting the term to visual queues, rather mention the products sustainable and environmental elements. By appealing to the consumers desirable attributes of visual simplicity in a product with environmental refinement, the designer finds an emotional thread. A social responsibility that can enhance products, environments, communications and corporate identity through pathos.
In planning for sustainable design, designers must embed the concept in the whole process from the start. As with any project, goals and objectives need establishing to consider ideals and subsequent best practice. Design for a Sustainable World by Victor Margolin, addresses this necessity of design that influences sociality to change how people think. Margolin’s design issue suggests sustainability has to operate at individual, local, regional and global levels of vision. By co-operation, the approach requires everyone as a ‘designer’ to see sustainability as a process rather than an outcome, a direction rather than destination (Edwards 196).
This process over product notion is used in structuring the digital. Regarding the two key inventions that the give form to the future — Apple Macintosh (1983) and the Internet, spread and share information and tools to theorize that it does not matter who designs it, the result in which and how it is interpreted is the key to taming the chaos of data. Perhaps, it is in our interest to question the received notion that to solve a problem; you have to create a new design. There may be some learning problems that cannot be solved by a better design. The obstacle of life with technology depends on considering the complexity and irregularity of design. By promoting the consumer awareness aspect of green design; packaging used to raise awareness, the distinctive message tags, which provide information on the used materials and manufacturing, each product can tell their own story. Ultimately, omitting sustainability to one design topic, but as a designer is the key to as precision, truthfulness, sincerity, or simplicity.
Discussion:
In what mode of the design phases (empathy, define, ideate, prototype, test) would sustainable implications be introduced?
Work Cited:
Walker, Stuart. “The Environment, Product Aesthetics and Surface.” Design Issues 11.3 (Autumn, 1995): 15–27
Margolin, Victor. “Design for a Sustainable World.” Design Issues 14.2 (Summer 1998): 83–92
