ecodesign at goldsmiths Phillip A Goggin Phillip A Goggin BA (Hons)
MA has a background in the design and manufacturing
industries. He has taught design related subjects in a
number of universities and is currently engaged in
research to Ph.D. examining how organisations can reduce
the environmental impact of their products. Ecodesign at Goldsmiths is unique and the first design programme that allows students to graduate with an Honours Degree in Ecodesign. The reasons why such a course was considered necessary; how it has been developed and implemented; the way in which students are beginning to respond to the programme; and the wider implications of Ecodesign; are discussed in this paper. introduction The new BA (Hons.) Ecodesign course is complementary to the existing BA (Hons.) Design Studies and shares many contextual studies elements and teaching methods. Studio practice allows students to explore the implications of sustainable development for design and promotes a search for holistic and creative solutions to ethical and environmental concerns. A balance is struck between practice and theory to develop an understanding of professional working methods whilst making reference to wider social, environmental and philosophical issues. The aim of the Ecodesign course is to empower graduates to play a creative and effective role in a rapidly changing cultural, ecological and global design context. Relationship between design studies and ecodesign at Goldsmiths The degree in Design Studies at Goldsmiths was established in 1990 to allow students to undertake a broad cultural and ethical study of the designing activity. The programme is made up of a combination of elements grouped under the twin themes of 'Perspectives' and 'Practices'. Whilst the 'Perspectives' gives many views of design from a variety of cultural and intellectual positions, this is supported by 'Practices' which provides an appreciation of the work of professional designers. The course work centres on designing practical solutions to problems whilst making reference to broad social and philosophical concerns. Information Technology, as a means to develop and present ideas, underpins the course programme 1. Although ecological and ethical concerns have always featured strongly in Design Studies, it was considered appropriate that a new course should be established to allow students to focus more intensely on the issues, ideas and practices emerging in the field of environmentally sensitive design and sustainable development. Both Ecodesign and Design Studies consist of a four year programme with year one and two providing the foundation for the development of more personal work in years three and four. During year three, students can elect to take a year 'out' of college with an organisation that is willing to accept student placement and that reflects their particular design interests. Alternatively, they can spend the year on a college based course which allows them to maintain an overview of the designing activity. Whilst Ecodesign and Design Studies are distinct qualifications there are many closely shared study areas. The 'Perspectives' contextual programme, for example, has an integral ecological and ethical component which is common to both courses. In year one all students follow the same theoretical and studio based programme with election to either course taking place in year two (see figure 01). For students electing Ecodesign, emphasis is progressively placed on integrating environmental concerns with practical designed outcomes. In the final year Ecodesign practice focuses on the identification and development of a major design project. This is expected to intimately link theory and practice and form the major body of work on display at the end of year exhibition. The need for ecodesign Many acknowledge that our present material lifestyles are unsustainable. Increasing population, the spread of industrialisation and current levels of resource use and pollution, suggest that throughput of materials and energy need to be reduced by a factor twenty or more 2. We are approaching the 'limits to growth' if we are not already 'beyond the limits' 3, 4. Equally, the proven link between poverty and low environmental quality means that priority should be given to the needs of the world's poor 5. Sustainability not only means reducing demands placed on the planet, it also implies equitable distribution of resources to meet present and future needs. In design circles, social and environmental interests have been debated regularly. Ruskin, followed by Morris, were among the first to challenge the values associated with industrialisation and its damaging effect on society and nature 6. Buckminster Fuller aspired to a utopian vision where design served the needs of people rather than industry 7. The American writer Vance Packard provided a damning critique of the advertising industry in creating false needs to fuel industrial growth in 'The Hidden Persuaders' published in 1957 8. And in 1972, Victor Papanek released his seminal work 'Design for the Real World' 9 which continues to influence many. In it he said; "There are professions more harmful than industrial design, but only a very few... by creating whole new species of permanent garbage to clutter up the landscape, and by choosing materials and processes that pollute the air we breath, designers have become a dangerous breed. In an 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...". In 1976 the Royal College of Art hosted an International conference on 'Design for Need' which brought together speakers like Papanek and Bonsiepe, with representatives from organisations such as Friends of the Earth, Oxfam and the Intermediate Technology Development Group. As Madge 10 has pointed out, this conference did not create a movement but it did reflect widespread support for more responsible design during this period. Although little was heard for some years, towards the end of the 1980's the environment re-emerged on the design agenda. Only this time supported by hard scientific evidence confirming the threat of ozone depletion and global warming among other concerns. This coincided with growing public awareness through media coverage of a series of environmental disasters such as Chernobyl, Bhopal and Exxon Valdez. Even normally sluggish governments acknowledged that action was required, resulting in numerous policy initiatives. Although viewed with scepticism, it would seem that few companies would now openly dismiss environmental factors 11. Environmental policies and environmental managers abound. One of the most significant recent developments is the 1995 Environment Act 12 which will increasingly effect many businesses. In it the Government has established a 'Waste Strategy' which encourages companies to move from disposal, to recycling, to recovery, to prevention. This surprisingly enlightened policy is supported by a landfill tax which places a financial levy on goods and materials entering the waste stream. In addition, a 'Producer Responsibility Obligation' forms another section of the Act which implies that in future, firms will be responsible for their products for their entire life. In practice this means that products will not only need to be designed to be recycled and reused. But also designed in a way that facilitates long life through servicing and upgrading. Companies are suddenly facing their own individual nightmare where the more they produce means the more products they are responsible for. Thus the 'sacred cows' of increased productivity and reduced lifespan - through 'built-in' obsolescence - equates directly with greater financial liability. The implications of this are only just beginning to dawn on some. It is in this context that the establishment of the new Ecodesign course at Goldsmiths was not only considered timely, but also a moral necessity. On the one hand we are faced with the overwhelming needs of the poor who require greater access to the world's resources in the form of goods that reduce dependency and environmental impact. Whilst on the other hand, the developed countries have to cut back their material consumption by orders of magnitude. What is ecodesign? Ecodesign is an approach to design where all the environmental impacts of a product are considered over the product's entire life (see Spaceship Ecodesign: The Next Generation in this issue). Combining these two sets of criteria creates a matrix which provides a simplified overview of a product concept related to environmental costs. Within each cell of the matrix designers can employ a variety of strategies to reduce impact (se figure 02). Similarly, the implications of design decisions are more readily identified - reducing the likelihood of benefits in production being offset by increased environmental harm in use or disposal and visa versa. Ecodesign, in contrast to life cycle analysis, is proactive and can be used to promote preventative environmental action. It is in a form that is readily understood and usable, whilst extending design horizons to encompass both upstream and downstream activities. ecodesign in the context of sustainability Sustainability is the ultimate goal, but ecodesign cannot provide all the answers. We are facing a transitional period where material goods will continue to be produced that are inherently unsustainable (i.e. cars; newspapers; most packaging; washing machines and fridges and the like). Ecodesign can certainly improve the environmental performance of these products but it has limitations. To address these needs 'sustainably' - that is, if we consider them as needs - effective public transport systems are required with working and shopping brought closer to home; news would be delivered electronically; goods would need little if any packaging; clothes would require less washing whilst highly efficient washing machines would service many families; and fridges would be built into north facing walls or replaced by underground cold rooms, etc. etc. These questions need to be raised but equally designers need to make decisions now. Figure 03 illustrates where ecodesign fits into this overall shift towards sustainable development and identifies some the characteristics and design responses to present and future needs. an educational model of ecodesign Building on Goldsmiths' rationale of closely combining theory and practice, a model of the Ecodesign course was developed (see figure 04). It takes as its broad perspective 'sustainable development', as defined by Brundtland5, combined with ecodesign principles to inform practice. Thus theory related to:
Whilst practical ecodesign outcomes are moved back into this context to provide theoretical insights. The nature of the design activity results in an iterative and enriching process the user experience There are three distinct spaces defined in the educational model. The first - at the centre of the concentric circles - focuses on the user. This space is considered to be pivotal in ecodesign and concerned with developing more meaningful relationships between designed outcomes and users. Realising sustainability will be largely dependent on changing cultural values, lifestyles and modes of behaviour. What people consume, rate of consumption and how objects are used, are heavily influenced by the users experience of products and services. The uncomfortable truth is that those in the privileged developed countries will need to drastically reduce material consumption. Ecodesign may well be key in making this transition not only acceptable but even desirable in some instances. the ecodesign frame As illustrated in the model, environmental factors and the product lifecycle surround the user's experience to create the second educational space. To facilitate depth of study, each project has a particular emphasis which may be materials in production, energy in use or wastes in disposal and so on, within the overall ecodesign frame. As students progress through the course they explore each of these areas in detail to not only cultivate understanding but also to create personal ecodesign strategies for dealing with environmental concerns at various lifecycle stages. the context of sustainability The practice of ecodesign needs to be informed by and sympathetic with an overall shift towards sustainable development. In the contextual space encompassing the ecodesign frame, students are introduced to present and future environmental imperatives; social and ethical concerns; political and economic structures; appropriate as well as new technologies; and practical tools and methods. Each of these areas require expeditions into many subject domains which often requires extensive rather than intensive investigation. Therefore, to provide focus and relevance these contextual elements are linked to project spaces as illustrated in the model. Progress through the programme is accomplished by cyclical movement of the indicative project space as shown. User experience is always central in each project whilst ecodesign provides a reference frame with an emphasis on a particular lifecycle stage (see figure 05). This in turn is informed by - and informs - inquiry into contextual material related to sustainability. Thus it is intended that the aim of theory into practice, and practice into theory, will be fully realised. Ecodesign in practice As this is the first course of its kind in the country as well as in a new and evolving field, the key to success of Ecodesign will be in its ability to adapt to new ideas, knowledge and experience. To this end those involved in the course are actively engaged in research and practice in a variety of subjects and organisations at many levels, from philosophy and anthropology to design and management. Student response to the Ecodesign programme has so far been highly encouraging. Partly this is because young people are genuinely concerned about environmental and social issues and are quick to embrace a worthy cause. But equally, this is because ecodesign empowers them to bring about real and positive change whilst engaged in a stimulating and creative activity. The link between environmental decay and their personal design decisions has been made and this is proving to be a powerful motivating force. the implications of ecodesign Given that those who employ designers will increasingly need to address environmental concerns in their business, opportunities for graduates of Ecodesign will also rise accordingly. Many of the barriers to companies changing their practices and products to accommodate the environment, are not evident in young undergraduates who readily adapt to new ideas and ways of working. Many years of design experience and knowledge is proving to be a major obstacle to change in some organisations 13. Many educational design institutions are introducing environmental factors into the curriculum with mixed intensity and positioning. There is a very real need for this activity to be widely extended and supported by individuals, institutions and government. It is difficult to envisage how the transition to a sustainable society will be achieved without those making design decisions fully understanding the social and environmental implications of their choices . References 1) Design Studies Course Handbook Goldsmiths
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