Reforming Consumption Habits Through Product Design - Design for Sustainable Development through prolonging product lifetime.
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Reforming Consumption Habits
Through Product Design
Design for Sustainable Development through prolonging
product lifetime.
Johanna Jonsson
Product Design
Bachelor Thesis, 20 hp
VT 2021
Supervisor: Helena Ondrus
Examinator: Elin Olander
ABSTRACT G L O S S A RY
This study, that is a research and product development process, is based Product attachment: A strong emo- Perceived obsolescence: the con-
on sustainable development and the negative impacts of the growing tional connection to a product (Mug- sumption habits of the want and need
ge, Schoormans, Schifferstein, 2005). in having the latest and trendiest, de-
consumption, and wear-and-tear habits of today’s society. The way we
spite whether or not the current prod-
handle our resources, from mine to landfill cause devastating effects on
Product replacement: refers to the uct still works (Cooper, 2010)
the climate. LAST, is a multi-functional table made from wooden waste discard of a particular product in or-
materials, that represents product design that allows the user to build der to replace it with a new similar on Lifetime Optimization: Designing ar-
(van Nes, Cramer, 2005). tefacts with high performance over a
a strong, long-lasting relationship with the product. The table is versa-
long period of time (Vezzoli, Manzini,
tile, allows easy dismantling and incorporates qualities that create an
Product Longevity: refers to the 2008)
incentive for the user to build an attachment to it to increase its lifetime. length of a products lifetime or exis-
This has been done through applying different strategies within emo- tence (Cooper, 2012) Ethical Consumerism: Cosumerism
on the basis that the product is ethi-
tional design, product attachment and design for sustainability as well
Emotional design: a design approach cally produced (Chapman, 2009)
as applying knowledge within timeless design, aesthetic nourishment.
that emphasizes user experience and
The Japanese philosophy of Wabi Sabi has acted as inspiration to help evoking emotions (Norman, 2004) Timeless design: Timeless infers that
navigate the projects design proposal that could allow for the user to a piece of design has the quality of
Planned obsolescence: product is not being affected by time (Lobos,
appreciate their product for longer and indorse product longevity. The
designed with the intention of los- 2014), or consumers ever changing
research question for the study is as follows: How can you promote prod- tastes and styles (Wallner, Magnier,
ing its functions thus will be subject
uct longevity by means of product design for sustainable development? Mugge, 2020)
to early replacement or discard has
harmful effects on the environment
KEY WORDS: (Cooper, 2010)
Sustainable Development, Emotional Design, Emotional Durabil-
ity, Aesthetic Sustainability, Timeless Design, Wabi Sabi, Product
Replacement, Product Attachment, Product Longevity
1
TA B L E O F C O N T E N T S
ABSTRACT……………………………………………………………01 3. METHODS…………………………………………………………...16
GLOSSARY …………………………………………………………..01 3.1 CONTEXT EXPLORATION 17
Moodboard/Collage /
1. INTRODUCTION ………………………………………………...04 Market/Future Analysis
1.1 BACKGROUND 05 3.2 INVOLVING THE USER 18
1.2 RESEARCH QUESTION 05 Semi-Structured User Interview /
1.3 PURPOSE 06 Persona / Focus Group
1.4 LIMITATIONS 06 3.3 EXPLORE DESIGN CONCEPTS 20
1.5 ETHICAL POSITIONING 06 Brainstorming 1 / Sketch Process 1 /
Brainstorming 2 / Value Method
2. THEORY …………………………………………………………. 07
2.1 SUSTAINABLE DEVELOPMENT 08 4. RESULTS AND ANALYSIS ………………………………………..23
Design for sustainable development 4.1 CONTEXT EXPLORATION 23
2.2 PRODUCT LONGEVITY 09 Moodboard / Collage
Product replacement / Product attachment Market / Future Analysis
2.3 EMOTIONAL DESIGN 10 4.2 INVOLVING THE USER 25
Emotional Durability Semi-Structured User Interview /
2.4 AESTHETICS 11 Persona / Focus Group
Timeless design / Aesthetic sustainability / 4.3 EXPLORE DESIGN CONCEPTS 31
Wabi Sabi / Kintsugi / Form and Materials Brainstorming 1 / Sketch Procss 1 /
Brainstorming 2/ Value Method
2
4.4 FURTHER DEVELOPMENT OF THE CONCEPT 37
Sketching process 2 / Scenario / Materials
5. FINAL CONCEPT ……………………………………………….....42
6. REFLECTION ……………………………………………………....43
6.1 CONCLUSION 43
6.2 DISCUSSION 44
7. BIBLIOGRAPHY………………………………………………….....45
8. TABLE OF FIGURES & IMAGES………………………………....46
9. APPENDICES……………………………………………………….48
9.1 SEMI-STRUCTURED INTERVIEW QUESTIONS 48
9.2 IMAGE ATTACHMENTS 48
Figure 1: Illustration displaying the structure of the study beginning with research ques-
tion which is then researched through theory and design methods. The results from
these are analysed which aims to give an answer to the research question, giving a
design contribution in the form of a product concept. The knowledge presented in the
study can then be used for further studies as a knowledge contribution (Jonsson, 2021).
3
1. INTRODUCTION Image 1: Landfill of furniture (Handkrafted, 2021) 4
1.1 BACKGROUND
Today’s society of wear and tear and over con- consumer to build a strong relationship with their
sumption has a grave impact on the environment. product, along with aesthetic research. Through
The consumption of goods and services has risen empirical research, questions will be investigat-
by sixty-seven percent and energy consumption ed such as: what makes us value some prod-
by seven percent in the UK in the last ten years ucts more than others, what constitutes timeless
(Chapman, 2009). As humans are living longer, design, and how can product design allow a
our products are living shorter. High-income long-lasting attachment that can strengthen the
households make the disproportionate demands relationship between the product and the user?
on the planet and are accountable for consuming Additionally, the Japanese concepts of Wabi
resources every year that will take the earth 1,5 Sabi and Kintusgi will be explored as a means of
years to reproduce. (Cooper, 2010). inspiration and design qualities that can possibil-
ity help postpone early product replacement by
Through a sustainability point of view, it is im- ways of emotional design.
portant to design products with materials and
eco-design in mind. It is equally important to
increase the lifetime of products thus decrease
early replacement or discard. To do this, both
planned obsolescence and perceived obsoles- 1.2 RESEARCH QUESTION
cence need to be diminished. Increasing longev-
ity by strengthening the emotional bond and at-
tachment between a consumer and their product
has with their product may be a possible solution.
HOW CAN YOU PROMOTE PRODUCT LONGEVITY
This thesis will investigate the possibilities by BY MEANS OF PRODUCT DESIGN FOR SUSTAINABLE
which product design can positively influence
DEVELOPMENT?
early product replacement of household furni-
ture by promoting product longevity. To achieve
this, emotional design and product attachment
strategies have been assessed that can allow a
5
1.3 Purpose
1.4 Limitations
The main aim of the project is to contribute knowledge
Timeless design in the project will be categorized as prod-
about how product design can be used to tackle problems
ucts designed within the last 50 years and are still in pro-
related to sustainable development and the environment.
duction today. The final product concept will be limited to
By use of theoretic research, research methods and user
household products such as furniture. The product will also
studies, the project represents ways different strategies can
be a conceptual proposal that can give insight to the prob-
be used within product design, so that product designers
lem at hand and not a final solution.
of various every day products can strategically design emo-
tionally durable products.
The target group of the product development includes,
but is not limited to, individuals by whom are interested in
The knowledge contribution is a reflected through a de-
interior design and have a general care and attention for
sign proposal. The design proposal is a conceptual solution
their home environment. The target group will be limited to
that will promote a shift in the way we design and consume
adults who live in their own homes thus choose their own
household products and furniture. This, through contrib-
furnishings.
uting knowledge regarding the importance of designing
products that allow us to build a relationship and attach-
ment to them with the intent of making them last longer.
Furthermore, how to encourage users to see beauty and 1.5 Ethical positioning
value in things imperfect or worn which could add to the
Planned obsolescence and the deliberate shortening of the
lifetime of the product. Subsequently, allowing for users to
lifetime of products is in many ways unethical and in the
understand the importance of consuming products with the
long-term will nurture the ill and wasteful consumption be-
intent of keeping them for longer, and how this will contrib-
haviour. The project will therefore take this into consider-
ute to more sustainable consumption habits and lifestyle,
ation and work against unethical design from a sustainability
thus ethical consumerism.
perspective.
To strive for sustainable development within product de-
All participants that are included in the research and meth-
sign, it is also important that the design proposal incorpo-
ods of the project will be held anonymous and follow the
rates qualities that promote and encourage design for sus-
guidelines of GDPR throughout.
tainability through tactical use of materials and form.
6
2 . T H E O RY
The theoretic framework incorporates theories
(seen in figure 2) that aim to constitute a premise
in the study. Sustainable development and de-
sign for sustainability are key concepts and lay
the foundation for the continued research in to
answer the research question. Emotional design,
product attachment and aesthetics are a few top-
ics that can assist in the pursuit of finding strate-
gies that can promote product longevity and are
explored together with other theories that refer
to these in the next chapters.
Figure 2: Mind map displaying the connection between the theory used in this section (Jonsson, 2021)
7
2.1 SUSTAINABLE
DEVELOPMENT
Sustainable development involves the develop- using renewable energy (Cambridge, 2020). Im- lander, Bakker, Hultink, 2017). To enable this to
ment of social, economic and ecological aspects proving the negative impacts in combination with happen, materials and components should be
and the sustainability of these through meeting developing positive impacts through for example easily detachable and dismantled.
current needs without jeopardizing the needs of product and service development will subse-
future generations (Robert, Parris, Leiserowitz, quently support sustainable development. Figure 6 displays six strategies within design to
2005). This is the basis of the UN’s work towards work towards sustainable design. These strate-
sustainability and the formation of the global A concept to acknowledge that will encourage gies all go hand in hand and affect each other
goals for sustainable development. The sev- design for sustainability is circular economy, and directly. They mainly aim to give designers a way
enteen goals together address different global design for circular economy. Circular economy is of not only focusing on materials, but also a prod-
challenges that mankind face. For this project, a contrast to the linear system, where products ucts quality through features that can increase
focus will lay in sustainability goal 12, sustainable are produced without any regard to sustainable the lifetime and making the user inclined to keep
consumption and production. Changing the way or renewable materials, and then discarded as their product. Ultimately, this can help eliminate
we produce and consume goods and resources waste at their end of use (Ellen Macarthur foun- a wear and tear habit and over-consumption that
is a necessary requirement to reduce our ecolog- dation, 2017). A circular economy builds on three is laying a burden on the goal towards sustain-
ical footprint and promote economic growth and principles seen in figure 3 (Ellen MacArthur foun- ability. These present a starting point that will be
sustainable development (UNDP, 2020). dation, 2017). used in the study.
1 2 3
REGENERATE Design for
DESIGN OUT WASTE KEEPING MATERIALS Design for
2.2 DESIGN FOR POLLUTION IN USE NATURAL SYSTEMS attachment and
trust
durability
SUSTAINABLE
DEVELOPMENT Figure 3: Illustration based on Ellen MacArthurs (2017) Design for
three principles for circular economy (Jonsson, 2021) standardisation CIRCULAR PRODUCT Design for
dis- and
and DESIGN
compatability reassembly
A transitional change is needed to work towards
sustainable development and designers are Designing for circular economy implies design-
in a key position to work towards such change. ing in a way that will enable the materials used to
Design for Design for
Design for sustainable development generally be preserved and kept in the economic system ease of upgradability and
implies the necessity in improving the negative for as long as possible (ibid). Either by lengthen- maintenance adaptability
impacts on the planet such as reducing materi- ing the products lifetime or allowing them to be
al consumption, eliminating toxic chemicals, and reused or be looped back into the system (Hol- Figure 4: Illustration of Hollander et.al. (2017) six strate-
gies for design for sustainable development (Jonsson,
2021)
8
2.3 PRODUCT LONGEVITY, PRODUCT REPLACEMENT AND PRODUCT ATTACHMENT
Promoting product longevity as a means of de- Premature replacement of products, namely, when instance products that evoke memories (ibid). This
signing for sustainable development, is essential. the current product still works and is in good con- will allow the user to connect the product with a
Short product lifetime and the current occurrence dition is thrown away and replaced by a new prod- strong symbolic meaning and in turn with the phys-
of planned obsolescence in products causes severe uct, is damaging to the environment and should be ical product itself, making it irreplaceable (ibid).
damage to the eco-system (Lobos, 2004) as well as avoided (Mugge, Schoormans, Schifferstein, 2005). Mugge et.al (2005) express that products that stim-
a vast environmental and economic cost. The envi- Allowing the user to build a strong, long lasting re- ulate social contact are an example of this, allowing
ronmental costs come at the production rate, use of lationship with their product can prolong early re- the user to connect the physical product with peo-
materials, resources, energy and water. And the use placement. This entails that the product has certain ple or situations by which it was used. Another way
of these faster than what can be renewed (ibid). The qualities that make it irreplaceable by giving the of promoting product attachment is by allowing
economic cost comes from products that are be- user a deep sense of meaning that is anchored in variation and modification to a product to meet a
coming cheaper, compromising quality and physi- the specific product (ibid). In other words, imple- user’s everchanging needs; physical, functional and
cal durability (ibid). The short-lived products of poor menting product attachment. aesthetic, perhaps through modularity (ibid).
quality usually entail no possibilities of repair or up-
grade (ibid). Moreover, decreased user experience Achieving product attachment can be a crucial Encompassing uniqueness, thus enable personifica-
in the form of dissatisfied users that don’t have the part in the pursuit of extending the lifetime of an tion, to a product will, according to Mugge et.al.
opportunity to make a relationship with their prod- otherwise physically durable product. Attempting (2005) appeal to humans in their pursuit of original-
ucts and find them meaningful or relevant may lead to strengthen the relationship or the emotional ity and can allow for displaying an identity and pro-
to early replacement of products (Hamilton, 2004). bond between a product and its user can enhance mote attachment. Lastly, strategic use of materials
The rate at which products are being replaced or product attachment and promote longevity. Mug- that tend to age with grace and dignity can give the
thrown away is therefore increasing the manufactur- ge et.al. (2005) describe that within a situation by user a sense of having aged with the product, thus
ing rate of new products (Lobos, 2014). This type which a consumer is looking to replace their prod- creating a personal connection (ibid).
of purchase behavior mirrors a vicious circle of con- uct, there is a push and pull scenario. The push rep-
sumerism and replacement patterns of durables resents the new product “pushing” the consumer In the design process of this project, then, it will
that eventually end up in waste streams and landfills away from the old product. The pull represents be of interest to try to incorporate qualities such as
(Mugge, Schoormans, Schifferstein, 2005). the familiarity or significance the old product still evoking memories, perhaps through use of a prod-
holds for the consumer. In this way, pull also sym- uct that enhances social contact or has the possi-
Product replacement refers to the discard of a par- bolizes the emotional relationship by which product bility of modularity or multi-functions. Incorporating
ticular product in order to replace it with a new sim- designers can strive to create through eco design a product that is unique perhaps by tactical use of
ilar one. Reasons for product replacement vary, but strategy, between a person and their product (ibid) form and material will also be interesting to inves-
according to Van Nes and Cramer (2005), there are tigate. Furthermore, the choice of materials that al-
four different motives for product replacement. Although aesthetics, quality and performance can low graceful ageing will also be important for the
help to create a stronger bond between the product project to avoid early product replacement and in-
Wear and tear and user, it may only be temporary. (Mugge, et.al., stead aim for a product that promotes attachment.
Improved utility 2005). Other qualities to incorporate into product
Improved expression design that can postpone early replacement are for
New desires 92.4.1 EMOTIONAL DURABILITY
Designing products to extend their lifetime is one way longevity, Haines-Gadd, Chapman, Lloyd, Mason Ali-
of decreasing a mass consumption habit. Lifetime exten- akseyeu (2018), a framework of nine strategies have
sion, however, does not necessarily need to imply that a been developed. It is a sequence of strategies that
product has been improved (Van Nes, Cramer, 2005). An can be considered when designing with the concept
2.4 EMOTIONAL DESIGN object that is designed to last longer in terms of physical of emotional design and durability or can be used as
durability is of no use if the user does not intend to keep inspiration for the purpose. The strategies are pre-
Emotional design is a theoretic concept within it (Haines-Gadd, Chapman, Lloyd, Aliakseyeu, 2018). sented in the diagram below (figure 5). A few of which
product design that attends the emotional bond Emotional durability, in contrast to physical durability, are faded as these are more closely related to interac-
and relationship between humans and their prod- is a narrative that describes the concept of designing tion design and do not see fit for the purpose of this
ucts. Emotional design can consequently assist products that a user is inclined to keep for a prolonged project. These will therefore not be taken into consid-
in endorsing product attachment by allowing the period of time. This is done by adding value to a prod- eration in the duration of the project. Sections of the
user to build a relationship with their product and uct through, for instance, strengthening the emotional strategies seen to have extra relevance to the project
promote longevity. bond between humans and products that has replaced have been written in bold. Some of the strategies can
the human-to-human emotional bond (Chapman, 2009). be linked to those presented earlier in the section
Donald Norman (2004) emphasizes that under- In Emotional Durability, Design 9 – A tool for product about product attachment. For me, this highlights
standability and usability are key factors that can the importance of trying to encompass these strat-
stimulate positive emotional responses. Nor- egies as much as possible in the design process and
man (2004) suggests that there are three differ- 1 RELATIONSHIPS Building strong p artnerships between p roducts and people final design proposal. Building strong partnerships,
through active creative participation.
ent levels of the emotional system that togeth- for instance, is closely related to Mugge et. al. (2005)
er connect to influence the users experience of 2 NARRATIVES Creating nostalgia, memories and moments with products. suggestion that products that allow users to connect
products. These are the visceral, behavioural, the product to a person or situation. The same goes
3 IDENTITY Customization and personalization to allow self-expression
and reflective. Each one affects and influences for the attempt at creating nostalgia and memories,
design in different ways. The visceral is the initial 4 IMAGINATION Creating “magical” interactions t hrough unexpected func- using materials that age with grace as well as incorpo-
tions/effects
perception and impression of a design and has rating modularity and versatility in a product.
5 CONVERSATIONS Feedback and response between the user and products
to do with how the design makes the user feel.
The behavioural reflects usability and refers to 6 CONSCIOUSNESS Designing products with a “soul” giving products more charac-
ter
the functional and practical aspects of a product.
Finally, reflective design refers to our ability to 7 INTEGRITY Transparency in what t he p roduct o ffers. Quality, durability,
reliability
reflect a conscious thought-process to a design
8 MATERIALITY Allowing p roducts t o age gracefully, give s ensory experience.
Celebrating imperfections, uniqueness.
before, during and after use (Norman, 2004).
9 EVOLVEABILITY Evolvability – Adaptable and upgradeable through modularity.
Allow multiple lifetimes through new sets of uses.
Figure 5: Illustration chart displaying Haines-Gadd et. al., 2018 frame-
work of 9 strategies (Jonsson, 2021)
102.5 AESTHETICS
2.5.1 TIMELESS DESIGN
Designers have an influential position regarding Appearance – simple and classic designs mak- Once more, a connection can be made between
the way that consumers purchase, use and dis- ing it impossible to locate which design era it’s the four mentioned levels of timeless design and
pose of their products (Jelsma, Knot, 2002). By from to avoid going out of style. the previous theories. Product efficiency and
designing products that incorporate a universal user experience can be linked to emotional de-
language as well as durability and dependabili- Product efficiency – Too many functions and sign where the importance of a product being
ty, and letting form enhance utility and usability, features will compromise performance and de- easily understood by the user is important. Ma-
designers can create products that can remain pendability and possibly diminish value of the terials selection has also earlier been mentioned
meaningful for longer (Lobos, 2014). Through product. Simplicity, and stripping down to the but this time includes the notion of sustainability
use of optimized qualities within function and most basic form and function is sometimes the in terms of production and end-of-life.
appearance, a product can also be designed to superior design choice. This can also decrease
maintain its relevance and reduce risk of prema- efficiency of resources, materials and production While it may be difficult to design a single prod-
ture replacement (ibid). Aesthetics is important as well as make it easier to repair thus optimize uct that incorporates all these strategies and
in the attempt to give a user a product they will the lifespan. qualities, I wish to experiment with most and see
like for a prolonged period. If the inevitability to what extent I can incorporate them to design
of time and aging does not affect the quality or Materials selection – Manufacturing, weight, a product for increased longevity.
value of a product, then this too, could in turn durability, finish, possibilities for recyclability and
encourage product longevity (ibid). Timelessness overall appearance affect sustainability and time-
can help to achieve this. Timelessness in design lessness.
is a way to promote sustainable development by
ensuring prolonged product lifetime (Heaton & User experience – Emotional design comes into
McDonagh 2017). It infers that a piece of design play and allows for experiential values on top of
has the quality of not being affected by time (Lo- form and function. By use of emotional design,
bos, 2014), or consumers ever changing tastes benefits such as creating a product that is more
and styles (Wallner, Magnier, Mugge, 2020) engaging, authentic, and intuitive arise (Desmet
& Hekkertt, 2009).
Alex Lobos (2014) describes four levels at which
timeless product design can be achieved in
Timelessness in Sustainable Product Design and
are as follows:
112.5.2 AESTHETIC
S U S TA I N A B I L I T Y
Aesthetic sustainability is a term coined by au- may be just what is needed to add value to a
thor of Aesthetic Sustainability: Product Design product that apart from choice of materials and
and Sustainable Usage (2018) and professor in form, can make for long lasting design that will
fashion design at Copenhagen school of design live until it has exceeded its natural utility (ibid).
and technology, Kristine H. Harper. The concept Although technicality matters, aesthetic nourish-
refers to an aesthetic experience that a user has ment, according to Harper (2018), should give us
with their product and how said product makes a sense and feeling of fulfilment that will make
them feel. Designing products that have aesthet- us less inclined to discard our product. This will
ic qualities will in turn promote product attach- in turn also lead to a more sustainable behavior.
ment and therefore longevity. (Harper, 2018).
Harper describes solid, well-crafted, and endur- Keeping aesthetic sustainability in mind when
ing products as the most important way to trans- designing a product, and the notion of attempt-
form the world of design. She also highlights ing to design products that give aesthetic nour-
the significant role of the designer to influence ishment, could then perhaps elevate a product
the consumer to buy fewer but better designed where the previous theories have been consid-
products. ered, and allow for an increased incentive of the
user to want to keep their product and care for it.
Aesthetic sustainability takes into consideration In this way, aesthetic sustainability highlights how
not only the functionality of a product, but also product design can change the way consumers
its aesthetic and expressive qualities. The impor- consume their products. Attempting to create
tance of the aesthetics is that a product will not this incentive, may enable ethical consumerism
only through durable design allow for upgrade, by use of product design.
repair, and reuse, but will promote the want and
incentive to repair and reuse the product and
keep it for longer (ibid). Aesthetic nourishment
122.5.3 WABI SABI
Aesthetics is very subjective. One person may that wabi sabi entails, means to focus on what display accidental effects such as broken pieces
love something another person hates. Because you already have. Things that leave you with a or other mishaps and misshapes that a form has
of this, it is hard to know how to design an aes- feeling of love and memory, not just objects that taken (Koren, 2008). Displaying a natural pro-
thetically durable product that will work for many. were bought on impulse (ibid). cess is another central aspect for wabi sabi. This
As a means of navigating aesthetics for a durable means showing the effects of human wear and
product and increased longevity, the Japanese In modern terms, the philosophy wabi sabi may weathering in the materials through a language
philosophy of wabi sabi has been chosen to act help us understand how to form a nurtured, of imperfection (ibid).
as an inspiration in the project. long-lasting relationships with our surroundings
and products (ibid). Wabi has evolved to entail Because of the qualities of the concept and the
Wabi Sabi can best be described in English as an rustic simplicity and serenity by detaching from way it can be linked to a decreased consumerist
acceptance of and even finding the beauty with- material world, and sabi; a beauty that comes habit thus a more sustainable purchasing behav-
in the imperfect, impermanent and incomplete. with impermanence and is inclined to elegant- ior, wabi sabi will be used as a source of inspira-
It means a slow and steady, simple pace of nat- ly show wear as an aesthetic ideal. Wabi Sabi in tion in the concept development phase of the
ural living (Kempton, 2019) The Wabi Sabi phi- design could help the attempt to design dura- project and throughout.
losophy is an important and applicable one for ble products in terms of aesthetics and materials.
modern life and culture, as it can allow for new see figure 6 for the main points of wabi sabi.
meaning and perspective on an otherwise mate-
WABI SABI
rialistic and consumerist havoc of society today. Important for wabi sabi:
Wabi originates from a philosophy of simplicity 1. The use of natural materials
Transient Asymmetry
and natural beauty. The origins of Sabi concerns 2. Embrace a little imperfection
Simplicity
the passage of time and the way things age, 3. Don’t focus on perfection as end goal
evolve and perish, how they grow and decay
Contentment Tranqulitiy Passage of time
and how this alters the visual appearance of an Looking further into the material qualities that
item. Through Sabi, we can find beauty in things are important for wabi sabi, there are a few Naturalness
by connecting with the past and what has been, guidelines that allow us to understand what Detatching from Rustic
which ultimately gives us an emotional response material world
kind of materials and forms can be categorized
to the items (Kempton, 2019). When the two are as wabi sabi. Firstly, the term irregular is central.
put together, making Wabi Sabi, they reflect an Leonard Koren describes in Wabi Sabi for Artists,
experience or feeling, rather than a tangible, and Designers, Poets and Philosophers (2008) that Figure 6: Illustration of the main points of wabi sabi and how
strives to capture the essence of natural and au- they are related (Jonsson, 2021)
things wabi sabi can be perceived as odd, awk-
thentic beauty (ibid). The emotional connection ward or even ugly. In some cases, the materials
132.5.4 KINTSUGI
Looking further into the wabi sabi ideal of ac- Perhaps this philosophy incorporated into prod-
cepting and seeing beauty in the imperfect, the uct design can allow for consumers to reflect on
Japanese concept of Kintsugi is very relevant. their consumption habits and find contempt and
Kintsugi can be understood as a means practical tranquility in what is already had, and accepting
expression of wabi sabi (Taheri, Farrington, Cur- the flaws, rather than constantly looking for the
ran, O’Gorman, 2018), where the notion of see- next best thing. In this way, I see that wabi sabi
ing an aesthetic ideal in visible repairs and wear has the potential to prolong premature product
using Kintusgi (Superduperstudio, 2017)
Image 2: A bowl that has been repaired
and tear of products is apparent. The English replacement and instead promote product lon-
literal meaning is golden joinery and initially im- gevity. Partially through allowing products that
plies joining broken pieces of pottery using glue show visible wear and tear or that are broken
mixed with gold dust (see image 2) The practice to still be seen as valueable and not need to be
aims to create unique products that enhance the discarded of and replaced. Therefore, the notion
cracks and give them value rather than hiding the of kintsugi will be explored in the context of the
flaws. In a sense, the practice of kintsugi can be study both through user methods as well as the
seen as a healing the past in order to build the ideation process. This will be done by finding out
future (ibid). By using kintsugi as an inspiration in how consumers react to or perceive things that
our products, we can perhaps attempt to change are vulnerable or broken, and/or how this may
the state of mind of the user from seeing value in possibly change the value of a specific product.
only perfect things, and instead see beauty and
value in things vulnerable or broken.
142 . 5 . 5 F O R M A N D M AT E R I A L S
The specific use of form in the design of a product can de-
termine how it is perceived by the user and therefore also
the attachment that is created. The appearance through
form can allow a product to “stay in style” for longer. Man-
aging this can be done by for example designing a prod-
uct with a unique style or, on the contrary by being very
simple with few ornaments and details (Lobos, 2014). Be-
cause of these polar examples, both will be experimented
with in the empirical study.
As of materials, and linking back to circular economy,
the choice of materials directly affects the sustainability
of the product. For this, materials that are chemical-free
and can be reunited with nature or be looped back into
the economic system (Hollander et.al., 2017) should be
used. Minimizing the number of materials used, as well as
making sure the product is possible to disassemble is also
important. It may also be beneficial to use waste material
to decrease the resource consumption.
In terms of aesthetics, making a conscious choice of mate-
rials that can empower sensory experience and age grace-
fully will allow for a more emotionally durable product
(Haines-Gadd, Chapman, Lloyd, Mason Aliakseyeu, 2018).
Materials such as wood, metal, glass and ceramics are ex-
amples of materials that age well (Lobos, 2014). Allowing
imperfections to be shown through choice of materials
and its visible wear and tear will adhere to the aesthetic
qualities of wabi sabi (see image 3 displaying wood with
wabi sabi characteristics), as well as provide a uniqueness
Image 3: Natural Wood (FaenaAleph)
in the product thus promote product longevity. In addi-
tion to this, allowing visible wear and tear will also help
reach a narrative for the product that can create nostalgia
and memories, one of the nine tools for emotional de-
sign (Haines-Gadd, Chapman, Lloyd, Mason Aliakseyeu,
2018)
15The theories that have been discussed in the pre-
vious chapter all go hand in hand in some way
EMOTIONAL or other. Figure 7 attempts to display the corre-
DURABILITY lation between these theories and what aspects
of design that I will attempt to apply in the de-
sign process of the project. Emotional design and
product attachment have many things in common
and I see that emotional durability links the two
together through qualities such as uniqueness,
materials that age well and allowing the user to
connect with their product on an emotional level.
In the same way, product attachment can be
EMOTIONAL PRODUCT
linked to timeless design and a product could
DESIGN ATTACHMENT through use of tactics and levels within these the-
ories reach an aesthetic durability that could lead
to increased product longevity.
Emotional design and timeless design both en-
compass the importance of form and function
and ensuring that a product speaks to the user
through an understated design that makes it easy
FORM AND TIMELESS AESTHETIC to use.
FUNCTION DESIGN DURABILITY
The hopes with this project, is to attempt encom-
pass these main qualities through product design
that promotes product longevity and encourages
the user to want to keep and maintain their prod-
uct. The middle point of the diagram is therefore
labelled as wabi sabi, which has become a way
for me to try and navigate through the many lev-
els of strategies and qualities that the theory has
presented me with.
WABI SABI?
Figure 7: Illustration displaying the connection between the
theoretic framework of the last chapter. (Jonsson, 2021)
163. METHODS
The research methods are divided into three sub- ment and product attachment. Their preferences
categories. The first is the context exploration, about timeless design and overall aesthetics also
which allowed for an initial overview of the proj- enriches the project with pragmatic immersion.
ect. The second subcategory, involving the user, Exploring design concepts involves methods
included a series of empirical studies to test the- with external participants such as brainstorming
ories based on the theoretic framework. These and focus groups, as well as individual methods
were conducted with respondents that allowed of sketching and prototyping that will lead to the
for a deeper understanding of consumers con- further development of the concepts.
sumption behaviors in terms of product replace-
e the User Gro ncepts
ation olv up Co de
velopment of the
plor In
v con
gn
x ce
r
Sketching
the
p
esi
tE
Fur
Explore D (2D, 3D, digital)
Contex
Brainstorming
t
Semi-structured Interview
Moodboard / Collage How it works
Focus Group Sketching
Market / Future Analysis (scenario)
Persona Value method
Materials
17
Figure 8: Illustration over the methods used in the upcoming chapters (Jonsson, 2021)3 . 1 C O N T E X T E X P L O R AT I O N 3.1.1 MOODBOARD / 3.1.2 MARKET /
COLLAGE F U T U R E A N A LY S I S
Creating mood boards can allow for investigating The analyses were made in attempt to further understand
the scope of the project and design space (Luce- today’s market and what kind of products are currently
ro, 2009). The mood board was constructed as a available. This was done with a focus on finding “time-
means of collecting visual information to assist less” design today and looking at their qualities as well
in an initial visual understanding of some of the
as possible potentials and weaknesses they possess (Wik-
theories that had earlier been researched. Addi-
berg, Nilsson, Ericson, Törlind, 2015).
tionally, to grasp how wabi sabi looks, specifical-
ly in terms of furniture. The images were found
Timelessness was here limited to products that were de-
through Pinterest and by searching key words to
signed within the last fifty years, considered to be clas-
do with wabi Sabi, and are a mixture of typical,
modern items of wabi sabi style for the home, as sics that remain in style and are still in production today.
well as possible product solutions to apply the The analyses were made through looking at several dif-
style to. This includes different furniture as well ferent sources that varied from scientific literature to on-
as lighting. Lighting was an option for me to in- line magazines and media. The material was collected by
vestigate in terms of home decor but was later screenshotting images or google searching specific prod-
discarded of and furniture was instead chosen. ucts that had been described in text. The material there-
Regardless, these images still conveyed an over- fore mainly includes images of different products, ranging
all sense and feeling that would give inspiration. from household products to furniture, that were stamped
A few images reflecting kintsugi were also added as timeless design by both the online magazine and furni-
to the collage. The images were saved in a Pin- ture store The Essential Home as well as Alex Lobos’ text
terest folder to collect them in one place. The
Timelessness in Sustainable Product Design (2014).
hopes with this method were to, upon analyzing
the collage, find patterns or qualities that define
The collection was made to be able to summarize and
for instance wabi sabi that can act as inspiration
find trends, references and patterns that could potentially
throughout the project.
lead to possibilities that can inspire the project through
timeless design.
183 . 2 I N V O LV I N G 3.2.1 SEMI-STRUCTURED USER INERVIEWS
THE USER To find useful information about the user groups The interview was performed either in person or
desires, needs and opinions regarding existing via email so that follow-up questions or a discus-
products and product use (Boeijen, Daalhuizen, sion could take place if the opportunity arose.
The previous methods, as well as the theoret- Zijlstra, 2013) a semi-structured user interview
ic framework, allowed for a speculative under- was designed. The purpose was to receive an The first few questions had to do with what
standing of components and strategies that con- introductory understanding of people’s home kind of products they discard of or replace and
nect to product longevity. However, I wanted to environment and lifestyles in terms of their con- why. Secondly, what kind of products they want
investigate real consumers opinions and judge- sumption habits and the frequency at which they to keep and why, to find out what makes those
ments through empirical studies to compare the discard of and /or replace products and why. Ad- products more valuable to them. The next ques-
theory with as well as receive deeper knowledge. ditionally, find what kind of emotional values the tions approached how wear and tear, and repa-
user group connects to their products. ration of products would possibly change its val-
ue. This would allow an overall understanding of
Eight people (figure 9) of varying ages and gen- how the group might position themselves to the
ders as well as living situations participated in idea of accepting imperfection and finding value
the interview. Half of the participants were fa- through things that are flawed or broken, which
miliar to me, and the other half were unfamiliar. relates to wabi sabi and kintsugi.
Representing different age groups and genders
was important due to the relevance that age and Lastly, a few questions were asked to get some
living situation can have to the result of the an- insight and inspiration for the design phase in
swers. People belonging to an older generation what kind of design in terms of form, materials,
has for instance possibly had more time and/or colors etcetera, that the users generally prefer in
financial opportunities to replace certain pieces their home environment. The user’s preferences
of furniture or décor, collect more, or have more in terms of aesthetics could allow for a product
space to keep them. Those belonging to the that they feel more attached to and thus keep
younger generation may not yet have had this for longer.
same time, adequate finances, or even space,
to have collected the same amount of furniture. See appendices 9.1 for interview questions.
Therefore, the necessity of keeping their belong-
ings may be different.
19
Figure 9: Participants illustrated from the user study (Jonsson, 2021)3.2.2 PERSONA 3.2.3 FOCUS GROUP
To gather the information upon finishing the in- As a reconnection with the user group upon an- turn give a quantity of rich material that can al-
terviews, the method of creating a persona was alyzing the results from the interviews as well as low for a deeper understanding of certain issues
completed. Age did seem to affect the gener- the theory-based research, a focus group was or reactions that the users may have to different
al answers of the interviews and because of designed. Since the aesthetics of a product are topics or design proposals (ibid).
this, two personas were made to represent the important in terms of attempting to design for
younger and older generations fairly. The first longevity, it seemed relevant to involve the us- The focus group session was led with four orig-
group is the younger one, group A with persons ers to get a brief understanding of what qualities inal participants from the user group interview-
varying from the ages of 20 to 27. The second in terms of shapes, forms, and design language ees, two from group A (the younger group) and
is the older group, group B, containing persons they prefer (for example, organic vs. geometric two from group B (the older group). It was done
between the ages of 50 to 56. The personas re- shapes, robust vs. frail, simple vs unique). Be- in person with all four participants. Since the two
flect a summary of the groups answers and what cause timelessness can be an operative quali- groups may have different ideas of timeless de-
was found to potentially be of importance for the ty in designing for product attachment, finding sign as well as preferences, it was important to
rest of the project and acted as a means for me the user groups thoughts on what constitutes as represent both the groups equally in this phase.
to more easily gather all the information found in timeless design was necessary. The method was carried out by leading with open
the interview stage. Figure 10 displays the tem- questions that the users could freely discuss with
plate of which was to be filled with the informa- A focus group allows flexibility in that it is an one another that the facilitator (myself) recorded
tion that the method provided. open format by which the participants can free- with pen and paper for later analyzation.
Figure 10: Persona template that was filled out (Jonsson, 2021)
ly discuss the topic together in an uncontrolled
way. (Tremblay, Hevner, Berndt, 2010). This will in
20 Figure 11: Illustration of a focus group session (Jonsson, 2021)3.3 3.3.2 SKETCH PROCESS 1
EXPLORE DESIGN Sketching is a proficient method by means of promot-
ing new idea generation, organizing those ideas, and
CONCEPTS expressing them (Tversky, Suwa, Agrawala, Heiser,
Stolte, Hanrahan, Phan, Klingne, Daniel, Lee & Hay-
maker, 2003). Sketches were made both on paper as
well as prototyping basic models. Prototyping is a way
3.3.1 BRAINSTORMING 1 to test functions and solutions (Houde, Hill, 1997) and
increase understanding for the design problem at hand
(Wikberg et. al., 2015). The sketches were made on ac-
After the discussion in the focus group, a brain-
count of collecting potential design solutions as well
storming session began where the participants
as a foundation to be used as support for the second
were able to creatively depict their own ideas
brainstorming session. Experimenting with the results
through simple sketches of what timeless design
from the first brainstorming session, as well as differ-
in the form of a table could look like (see page
ent shapes and forms allowed for a range of ideas that
30 for reasons table was chosen). The use of a
would hopefully incorporate an overall sense of time-
brainstorming session complemented the focus
less design. The sketching process was done both on
group by allowing the participants to creatively
paper with pencil and markers, as well as through basic
contribute to generating ideas (Boeijen et.al.,
3D modeling using cardboard (see image 6 and 7).
2013). The purpose was to receive a visual rep-
resentation of the discussion in the focus group
that could later be used as inspiration in the ide-
ation phase and sketching process. Additionally,
the aim was to analyze the sketches in terms of
general shapes, forms and design language, as
these are what the user group sees as “timeless
design”. Later, compare these to the theoretic
research and be able to use the results as inspira-
tion in the ideation phase of the design process.
Image 4 & 5: Photos of the user group participating in the brainstorming session (Jonsson, 2021) 21 Image 6 & 7: Photos of the ongoing sketching process (Jonsson, 2021)Image 8 & 9: Photos displaying participate in the brainstorming session 2 (Jonsson, 2021)
3 . 3 . 4 VA L U E M E T H O D
Many different design routes were explored by
the group during the second brainstorming ses-
sion. Upon sketching further, I still felt the need
to analyze which concept would be the best op-
tion to continue development of. Therefore, I
used the value method to critically analyze the
concepts and receive a better understanding of
strong ideas versus poor ideas (Boeijen et.al.,
2013). The method should act as an aid through
evaluation to better understand both advantag-
es as well as limitations of the ideas in question
and what can be changed (Wikberg et. al., 2015).
To complete the analysis, I used the previous
3.3.3 BRAINSTORMING 2 knowledge from the research as well as consid-
ering the comments from the open discussion
had during the second brainstorming session.
A group of three design students were asked to partake in a brainstorm-
The value method was completed by divding the
ing session to assist in idea generation during the development stage.
concepts to be reviewed and writing down possi-
the intent was to gather more input and expertise that would allow for
bilities, limitations, and unique qualities for each
inspiration and possible design solutions in the project. The sketches
one. This makes it easier to review the ideas as
from the previous sketching phase were brought to the brainstorming
well as pinpoint which one to continue develop-
session and participants were able to openly discuss these in terms of
ment of, or if more ideas and concepts are need-
pros and cons of the concepts that were shown or suggest new ideas.
ed (Boeijen et.al., 2013).
The participants then creatively demonstrated their design solutions or
improvements by sketching these out on paper. The moderator (myself)
took notes on comments made by the participants and the drawings
were saved to be analysed in terms of new possible solutions or forms
that could be incorporated into the final product proposal.
22
233.4 FURTHER
3.4.1 SKETCH PROCESS 2
DEVELOPMENT
The second sketching phase allowed for con-
cretizing and further developing the ideas and OF THE
CONCEPT
incorporating solutions into the final concept.
This included experimenting with shapes, forms
as well as functions for the final concept. The
sketching phase was done on paper using simple
sketching tools; pencil, pens and copic markers.
Upon this, digital sketches were also made in 2D 3.4.2 SCENARIO
using illustrator, as well as SolidWorks, to make
3D sketches. This allowed for a more nuanced A scenario was made to visually describe an ide-
understanding of the design, where colour, al user interaction / journey (Boeijen et.al., 2013)
material and depth can be better understood and communicate the concept development to
through an image of a realistic product (Wikberg better understand and portray the situation (Wik-
et.al., 2015). berg. et.al., 2015). The character included in the 3 . 4 . 3 M AT E R I A L S
scenario is based on the persona of group A that
was developed in the persona method (see page A material investigation was made to find suita-
19). The scenario was made using Adobe Illus- ble materials for the chosen concept. To do this,
trator and depicts how the user would go about I investigated using waste materials for the prod-
changing their product to fit their specific needs. uct in the form of wood. I spoke to a statistician
at Skogsstyrelsen, Sweden, to find information
regarding natural wood waste to find possible
material candidates. I used Google images to
retrieve more information and visual representa-
tion of the material selection found to preliminar-
ily see how the material would work with the de-
sign concept and what possibilities it could give.
234 . R E S L U T S / A N A LY S I S
4.1.1 MOODBOARD /
4.1 CONTEXT COLLAGE
E X P L O R AT I O N The mood board (figure 12) gave inspiration through displaying an overall
sense and impression of what the final design proposal could include. This
mainly gave inspiration for wabi sabi aesthetics, forms and materials, and al-
lowed for a visual representation of these. This helped me better understand
some of the theories found in a visual way. Looking at the result, the mood
board, the different designs show many natural forms and materials that
show clear signs of aging and withering. Also, organic, imperfect shapes.
A few modular solutions gave inspiration f simple ways that versatility and
multi-function can be incorporate into the final design solution. It was help-
ful to make a mood board early on as I was able to keep these images in the
back of my mind while forming the user studies and having a visual repre-
sentation of some of the theories I had worked with.
Image 10 & 11 : Photos from beginning the conext exploration by assembling post-its with important key words
and theoretic concepts to be covered in the project (Jonsson, 2021)
24 Figure 12: Moodboard / collage of possible design solutions (Jonsson, 2021)ha
ir
4 . 1 . 2 M A R K E T / F U T U R E A N A LY S I S
c
g
Kitc
Eg he
n
Aid
The results found from the market / future analy- Figure 14 displays home products and were
sis are displayed in figure 13 and figure 14. found mainly through Alex Lobos’ Timelessness
in Sustainable Product Design (2014). They rep-
Lamp resent timeless design in the way that they have
or
o
The images seen in figure 13 displays informa- been around for a long time, used in everyday life
Fl
ro
BR
Ac
tion found through online magazines and me- and seen throughout different cultures around A
UN
dia. This includes different types of furniture the world to this day (Lobos, 2014).
T3 Radio
that can be found in a home environment. The
products are considered timeless furniture clas- Incorporating characteristics such as upgrade-
sics according to The Essential Home furniture ability, compatibility of the Kitchen Aid that al-
hair lows for any attachable heads to be used with
3C store. All the pieces are described as furniture
B
classics that never go out of style. What do they any machine from any year (Lidwell, Mancasa,
el
Mod
Akar
2009). Simple and understated design language i Ce
have in common? First and foremost, the whole lin
that allows for a clear connection between form
g
selection has very neutral features – neutral col-
lam
and function is shown through the Braun radio
p
ours, shapes, and materials. They don’t have out-
rageous forms or screaming colours. This brings T3 (Lobos, 2014). This is also seen in Akari celing
0
l6
us to the second point, that they are relatively lamp, Muji CD player and Baletti Mocha coffee
oo
Figure 13: Displaying the results from the market/ future analysis (Jonsson, 2021)
St
Figure 14: Displaying the results from the market/ future analysis (Jonsson, 2021)
simple and minimalistic, which coincides with the maker reflect products that are more recogniz- MUJI wal
lmo
un
theory section in 2.4.1; appearance. There is no able to the user than many modern-day recent t
ed
massive amount of detailing or ornaments that designs (ibid).
CD
Player
strive to make the pieces unique. Instead, they
Table are unique in themselves through choice of ma- Here it is also seen that understated design, such
fee
of
terial and form. Lastly, they are easy to under- as that of which Donald Norman (2004) described
C
hi
Noguc
stand. The design doesn’t leave you wondering is important to build an emotional connection
BALE
with a product, is one example of a strategy that TTI
what it is or how it works, but rather speaks for M
o
itself, which also coincides with product efficien- can promote longevity. Upgradeability and com-
ch
am r
cy (section 2.4.1). patibility and the importance of allowing for easy
ake
air
Ch dismantling that was brought up in section 2.2
na
elo
Because of this, these qualities are important to (design for sustainable development) also imply
Barc
investigate further in the ideation process. that this is an important aspect to be considered.
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