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Int. J. Innovation and Sustainable Development, Vol. 4, No. 1, 2009 1
Copyright © 2009 Inderscience Enterprises Ltd.
DEEDS: a teaching and learning resource to help
mainstream sustainability into everyday design
teaching and professional practice
Karen Blincoe and Alastair Fuad-Luke
ICIS, International Centre for Innovation & Sustainability
Hornbǽk, Denmark
E-mail: karen.blincoe@schumachercollege.org.uk
E-mail: fuadluke@dial.pipex.com
Joachim H. Spangenberg*
SERI Sustainable Europe Research Institute Germany e.V.
Cologne, Germany
E-mail: Joachim.Spangenberg@gmx.de
*Corresponding author
Michael Thomson and Dag Holmgren
BEDA, Bureau of European Design Associations
Brussels, Belgium
E-mail: mbtuk1@googlemail.com
E-mail: dag.holmgren@jth.hj.se
Karin Jaschke and Tom Ainsworth
University of Brighton
Brighton, UK
E-mail: K.Jaschke@brighton.ac.uk
E-mail: t.c.ainsworth@bsms.ac.uk
Karolina Tylka
Academy of Fine Arts
Poznan, Poland
E-mail: karolinatylka@gmail.com
Abstract: The DEsign EDucation and Sustainability (DEEDS) project, funded
by the European Union’s Leonardo da Vinci Programme, comprises a
partnership of five institutions from the European design and sustainable
development communities that embraces higher education, research and
practice. This paper outlines the background, evolution and outcomes from
the project which currently include a set of core principles, Skills, Creating
change agents, Awareness – systemic and context, Learning together, Ethical
responsibilities and Synergy and co-creating (SCALES), diverse resources
2 K. Blincoe et al.
available via a website, an evolving teaching and learning landscape of
‘pods’ (the PodScape), new student projects and more. DEEDS has
embraced a platform of mutual learning by engaging diverse members of
design communities with various actors and stakeholders to create a
participatory platform for embedding ‘sustainability into design and design
into sustainability’.
Keywords: DEEDS project; design for sustainability; DfS; sustainable design
principles; SCALES; PodScape; teaching and learning modules.
Reference to this paper should be made as follows: Blincoe, K.,
Fuad-Luke, A., Spangenberg, J.H., Thomson, M., Holmgren, D., Jaschke, K.,
Ainsworth, T. and Tylka, K. (2009) ‘DEEDS: a teaching and learning resource
to help mainstream sustainability into everyday design teaching and
professional practice’, Int. J. Innovation and Sustainable Development, Vol. 4,
No. 1, pp.1–23.
Biographical notes: Karen Blincoe is an Educator, Designer and
Environmentalist. She is a Fellow of the RSA and CSD in the UK and a
member of Danish Design in Denmark. She is currently the Director of the
Schumacher College, Dartington, UK, a unique centre for studies in
sustainability issues based on Ghandian teaching and learning principles. She
was the Founder/Director of the International Centre for Innovation &
Sustainability (ICIS), Denmark. She was educated in Graphic Design in the
UK, established and ran a graphic design consultancy in London (1984–1992)
and became the Head of the Institute for Communication at the Danish Design
College (1992–1998). She is a visiting Professor at Brighton University, UK,
and has held honorary positions both in Denmark and the UK. She lectures in
sustainability, design and education around the world and is privately interested
in personal development, leadership and conflict solving.
Alastair Fuad-Luke is a Sustainable Design Consultant, Facilitator, Educator,
Writer and Activist. He works with diverse clients in the design and
educational sectors in the European Union and internationally. He managed the
Design Education and Sustainability (DEEDS) project from November 2006 to
June 2008. He is a Visiting Lecturer at a number of UK universities, serving
as a Senior Lecturer for the MA Sustainable Product Design at University
College for the Creative Arts, Farnham, UK, between 2004–2007. He is the
author of The Eco-Design Handbook, The Eco-Travel Handbook and Design
Activism (in press). He founded SLow, a website exploring ‘slow design’
(www.slowdesign.org) and is the Vice-President of the Board of New York and
Amsterdam-based SlowLab (www.slowlab.org). He is passionate about
society-wide engagement with design as a means to live a more fulfilling,
sustainable life and for exploring more reflective, meaningful forms of
production and consumption.
Joachim H. Spangenberg is a Macroeconomist with previous education in
Biology and Ecology. He is the Vice Chairman of SERI Germany e.V. and
Professeur Invite at the University of Versailles. He was a Senior Researcher
and Co-Coordinator of several international sustainability research projects,
including DEEDS. Other current activities include moderating the
sustainability strategy process in Luxembourg, a membership in IUCN CEM
and being a Review Author for IPCC ar4. In all these activities, he tries to
bridge the gaps between disciplines and between scientific analysis and
application. The scientific basis of this work is his research experience in the
Helmholtz Centre for Environmental Research, the Wuppertal Institute and the
Institute for European Environmental Policy, but also on experience from work
as an International Expert for UNDESA, UNDP and UNEP. For 20 years, his
DEEDS: a teaching and learning resource
3
work has focused on developing integrated approaches towards sustainable
development. He considers design as an underestimated agent in the process of
future-proofing our societies.
Michael Thomson is a Principal, Design Connect, London. Trained in 3D
design in Belfast and Germany, he established Design Connect in London in
1995. Design Connect has shaped and facilitated new directions for many of
Europe’s leading design agencies and has delivered programmes and
consultancy to stimulate fresh thinking. He has consulted on design policy in
the UK, Asia, Iceland, Ireland, Italy and the Middle East. From 2001–2005, he
served on the Board of the International Council of Societies of Industrial
Design (ICSID) and in March 2007, he was elected President of the Bureau of
European Design Associations (BEDA) 2007–2009. He has been leading
BEDA in successfully lobbying for the development by the European
Commission of a design policy for Europe. In February 2008, he was named by
‘Design Week’ as one of the UK’s top 50 most influential people in design.
Dag Holmgren has a Master of Industrial Design at the University College of
Arts Crafts and Design, Stockholm (1969). He has worked as an Industrial
Design Consultant. In 2003, he was appointed Professor of Industrial Design at
the School of Engineering in Jönköping. His own research included studies of
Industrial Design and SMEs together with The Swedish Industrial Design
Foundation (SVID): GTS Evaluating of IDR i Copenhagen; Project about
Ergonomics and Teaching. He is/has been an examiner and Lecturer in several
courses in Bachelor’s and Master’s education at the School of Engineering,
JTH and other Universities in Sweden and also abroad. He has given courses in
Product development, Ergonomics and Industrial Design. He has also given
courses in 25 years for the industry in Industrial Design.
Karin Jaschke is a Senior Lecturer in Architectural History and Theory at the
University of Brighton, UK. She holds degrees from Technische Universität
Berlin, the Bartlett School London and Princeton University and has previously
taught at the Bauhaus-Universität Weimar and in other schools. Her research
interests include modern architecture’s links to anthropology, entertainment
architecture and ludic environments and the cultural dimensions of sustainable
building. She has published articles and book chapters on her research and is
the co-editor of a reader entitled Stripping Las Vegas: A Contextual Review of
Casino Resort Architecture.
Tom Ainsworth is a Designer, Art and Design Lecturer and Research Fellow at
the University of Brighton, UK. His research interests explore sustainable
development through social change, with a particular interest in web-based
social technologies and the development of experiential, multidisciplinary
teaching and learning models. He has a particular interest in cross-disciplinary
collaboration and design for communication.
Karolina Tylka is a Designer, Educator and Researcher. She holds degrees
from the Academy of Fine Arts in Poznan, Poland, and Universität der
Künste, Berlin, Germany. Currently, she is working as an Assistant Professor
of the Inspiration Design Studio, the Faculty of Architecture and Design,
Academy of Fine Arts, Poznan, and as DEEDS Project Researcher. She is
passionate about multicultural communication, design for interaction and
sustainable design development.
4 K. Blincoe et al.
1 Introduction
The social reality of climate change – scientific debate, public discourses, policy change
announcements by government and business – is altering the conditions for design.
Climate change and peak oil will require revolutionary restructuring of the systems of
production and consumption, and rapidly so. Thus the challenge to production and
consumption patterns is not incremental improvements, but a change of the trajectory, a
U-turn in the way our societies have shaped their natural environment. Incremental
improvements will not do the job. Instead, we have to change our expectations how the
future of our living, working and consuming might look like – it will surely not be an
extrapolation of past trends, just richer and better. That kind of future view, prevalent
for many generations, does fit no longer. New ideas about the future are needed
(‘redesigning the future’). Visions of future more sustainable products, processes and
consumption patterns are needed by business and consumers.
Against this background, DEEDS:
• promotes a complex model of sustainability, comprising not only environmental and
economic but also social and institutional objectives
• suggests implementing these objectives throughout the product life (‘cradle to
cradle’), formulates guiding principles and provides tools and examples of doing so
• addresses all of a fragmented profession (we and communication design,
architecture, product and service design, textile and 3D design, etc.).
In particular in dealing with the social and institutional dimension, DEEDS is breaking
new ground and thus cannot deliver more than first steps of a longer journey, embodied
in the design principles developed. Doing so, DEEDS is starting from where our societies
and the design profession are now, but trying to develop future proof pathways into the
emerging times of scarcity. Thus DEEDS aims to contribute to a transition towards
sustainability by providing the shapers and builders of our anthropogenic environment
with the capabilities to re-embed it into its natural environment (from which it has
become largely detached) by enabling designers to offer better, future proof solutions.
Given the current diffuse but widespread attitudes towards change, being prepared
requires design not for current markets, but for ‘conceptual markets’ of the future
responding to these attitudes.
The pressure, but also the opportunities to redirect design and innovation to work
towards system change has never been as urgent, but also not yet as promising as today.
However, to overcome system and individual inertia, designers have be motivated to
become agents of change, and to claim leadership in their field. This is why the support
for developing leadership skills is also part of the DEEDS approach. ‘Skilling up’ and
‘unleashing creativity’ are catchwords in this context.
1.1 Background
The first post-modern design manifestoes referencing ecological imperatives emerged
in the 1960s (Jencks and Kropf, 1997). Green and ecological design in the late 1980s
evolved into eco-design and Design for the Environment (DfE), with an emphasis on
eco-efficient ways of designing. By the late 1990s, the canon moved on as Design for
Sustainability (DfS) gained credence. DfS in this context is understood as comprising
DEEDS: a teaching and learning resource
5
a wider spectrum of objectives, adding a social, institutional and ethical dimension
to eco-design. Sustainability in this view is a complex concept involving four axes
or dimensions: environmental, economic, human/social and societal/institutional
(Figure 1), making it probably the most difficult governance orientation ever suggested
(Spangenberg et al., 2002). Little wonder then, that DfS, ‘sustainable design’, or
‘sustainability design’, still lingers on the outer boundaries of design education and
practice (see for example in the UK, Otto, 2003; Richardson et al., 2005; in Denmark,
ICIS/University of Lund, 2005 survey).
Figure 1 Four dimensions in the prism of sustainability (see online version for colours)
Observing this lack of progress led the International Centre for Innovation and
Sustainability (ICIS) in Denmark, to see the need for a transition solution and apply to
and receive funding from the European Commission Leonardo da Vinci community
Vocational Training Programme to set up the DEsign, EDucation and Sustainability
(DEEDS) project. DEEDS comprises five partners: ICIS, Sustainable Europe Research
Institute Germany e.V. (SERI), Bureau of European Design Associations (BEDA),
University of Brighton and the Academy of Fine Arts, Poznan from five EU countries,
Denmark, UK, Germany, Poland and Belgium. DEEDS primary aim is to ‘Integrate
Sustainability into Mainstream Design Education and Design Practice in the EU
Countries’ by improving the skills and competences of design educators and practising
designers, and the quality of, and access to, continuing vocational training for the target
groups. The aspiration is that DfS can be inspired, inspiring and innovative in helping,
through and with design, to deal with sustainability issues that figure prominently in the
public and political domains, and help the EU meet its strategic sustainability objectives
expressed in the EU Treaties.
Indeed, DEEDs activities are already influencing the EU policy agenda with the
better integration of sustainability into BEDA’s lobbying role and its potential inclusion
as a fundamental component of the design policy for Europe which BEDA is currently
working towards with the European Commission.
1
6 K. Blincoe et al.
The final outcomes of the DEEDS project will encompass an open source website and
a case studies’ manual including case studies demonstrating the principles in practice,
educational models and methods, tools and skills which will demonstrate and teach DfS
to the target groups.
It is worth stressing that the research did not set out to ‘re-invent the wheel’ or
necessarily develop new knowledge in the area of sustainable design, but rather to
systematise and communicate DfS, in order to educate and inspire mainstream educators
and designers in elementary aspects of DfS. The previous ecological and sustainability
imperatives of the 1960s, 1970s and 1980s are all relevant and each movement has added
value and understanding to the principles of DfS and to DEEDS research.
However, earlier findings (Otto, 2003; Richardson et al., 2005; in Denmark,
ICIS/University of Lund, 2005 survey) and ICIS’s own experience in communicating and
teaching DfS to educators and practising designers
2
clearly indicate, that so far only a few
dedicated practitioners, academics and design universities have taken DfS on board,
which this paper sets out to further demonstrate in the first section below.
The main purpose was therefore to develop educational methodologies, tools and
skills to aid implementation and dissemination of sustainability in mainstream design
education and design practice across EU borders.
2 Early phases of the project
Early research sought to understand (by literature survey, questionnaires and workshops)
the barriers and needs to implementing sustainability beyond rhetoric for the two key
audiences, design teachers in Higher Education and designers in professional practice.
This process guided the early development of the website (DEEDS, 2007–2008)
generating a platform for presenting theory and Teaching and Learning (T&L) models.
Concurrently, DEEDS set about determining the underlying principles that might guide
the creation of a TL resource for these audiences. DEEDS believes that sustainability is
complex and holistic requiring people to understand, imagine, design and solve problems
together or in synergy, addressing the different aspects and interrelated levels of the
contexts involved (see for example Fuad-Luke, Manzini, Walker, Wood in Chapman and
Gant, 2007; Wood, 2007; Manzini and Jégou, 2003).
3 Needs and barriers of key target audiences
The UK Design Council’s report (Richardson et al., 2005) highlights the typical
barriers, real and perceived, cited by design practitioners and educationalists (Table 1).
Their findings for educationalists are supported by Dawe et al. (2005) who identified
four major barriers to the successful embedding of Education for Sustainable
Development, ESD:
1 overcrowded curriculum
2 perceived irrelevance by academic staff
3 limited staff awareness and expertise
4 limited institutional drive and commitment.
DEEDS: a teaching and learning resource
7
Table 1 Perceived and real barriers to designers and design educationalists applying
sustainable design, after Richardson et al. (2005)
Barriers for designers
Requires larger skill set
Designers not in influential positions
Unpopular/Misunderstood
‘Tough sell’ to consumers/clients
Perception of higher cost of Sustainable Product Design (SPD)
Lack of appropriate tools/methods
Lack of government support
Lack of consumer demand
Barriers for design educationalists
Low level of student demand
Low level of HE institution interest, understanding &/or perceived importance, therefore
little support
Low level of business demand
Low level of government support to encourage demand/curriculum change
Broad and specialist skill set (30 listed skills)
No or poor track record of graduate employment as sustainable designers
Lack of stature for design in the marketplace
Sustainability currently not seen as part of mainstream design education
Lack of appropriate tools/models and/or formal knowledge sharing network to aid
students/practitioners
Lack of skilled lecturers/tutors
Lack of entrepreneurial know-how
SPD requires lifelong learning
Knowledge exchange network poor beyond specialist individuals and centres
Poor eco-literacy in school students
Evidence from architectural design, for instance, noted various barriers and obstacles
(Fowles et al., 2003):
• The professional bodies, ARB/RIBA, acknowledge sustainability in their validation
criteria but it is compartmentalised and relegated to technology subjects rather than
integrated into professional practice and/or a cultural context.
• Design tutors tend to have a defensive attitude towards sustainability, especially in
areas where they do not have the expertise.
• Architectural design educational culture tends to encourage the expression of the ego
through formal design, whereas more emphasis needs to be placed on societal and
global needs.
• Sustainable design is tangential to rather than embedded in mainstream architecture.
8 K. Blincoe et al.
Iball (2003)
3
found that many post-graduate courses in architecture emphasised technical
and quantifiable environmental issues, but neglected a wider, more holistic, educational
response in environmental, social, economic and cultural terms as needed for substantial
sustainability. The same general observation was made during worldwide (English
speaking) survey of post-graduate courses in eco-design/sustainable design with a
product orientated focus (ICIS/University of Lund, 2005).
The authors of this paper have experienced a variety of responses when giving
lectures about DfS from well-renowned design colleagues, i.e., comments like ‘teaching
DfS is a dogma which does not further creativity’.
There seems to be a myth attached to ‘sustainability issues in a design context’ among
many design students, teachers as well as professional designers, which places
sustainability in a box of non-creativity, restrictiveness, ‘old hat’ and other metaphors
from previous decades.
An invited panel of external critics, comprising design practitioners and
educationalists attended a workshop in Brighton, UK in May 2007 (DEEDS, 2007) and
with the Partner team, together defined the barriers (Table 2) under the socio-cultural,
political and economic categories of money, structural/institutional, education, consumers
and cultural temperature/human values. They also invoked the ‘silent witness’ of the
neglected environment, aka nature. This collective perception of the barriers clearly
demonstrates that the task of mainstreaming sustainability into design will inevitably
require professional and personal transformations in thinking and behaviour.
This idea was further supported by the findings of the survey conducted by the BEDA
which was targeted at practicing professional designers. To reach this audience, (no
survey was conducted of either design schools or client companies), BEDA surveyed its
professional design association members across Europe (20 members of a total of 39).
The questionnaire comprised only four key questions (being mindful of how difficult it
is for practising designers to find time to complete a questionnaire) and it was issued
in Danish, Dutch, English, French, German, Italian, Spanish and Slovenian to increase
the response rate. The questionnaire is set out in full at Appendix 1. Two hundred
eighty-three individual responses were received from 14 European countries (listed at
Appendix 2). The breakdown by design discipline is at Appendix 3 and some analyses of
the questionnaire are given in Figure 2.
From the responses received to the Question 3, “As a professional designer, what do
you believe are the greatest barriers to practicing sustainable design?” (where a score of 1
indicates no barrier and a score of 10 indicates a significant barrier), it could be inferred
that the three key barriers to the application of DfS/Sustainable design set out in the
question did indeed resonate with respondents.
Just under 50% of all respondents scored 6 and higher for the barrier, ‘lack of
knowledge of designers’ with the largest number scoring on 5 (22.3%), perhaps
indicating that whilst designers feel their own knowledge to be insufficient, they are
hesitant to be too critical of their own practice (Figure 2a). Only 28% suggested that
designers have adequate or sufficient knowledge (scoring between 1 and 4).
On the other hand, for the barrier, ‘lack of knowledge of clients’, (Figure 2b), 75% of
respondents scored 6 and higher with just over 24% scoring 8 and 21% scoring 10,
perhaps indicating that the profession as a whole perceives the client’s knowledge of
sustainability issues to be inferior to its own and the clients’ lack of knowledge to be a
greater barrier to sustainable design practice than their own lack of knowledge.
DEEDS: a teaching and learning resource
9
Table 2 Barriers/Obstacles perceived by DEEDS and external critics
Money
Ambition…
Vision…
Growth (economic)
Economic focus on mainstream/ideological ignorance
Lack of resource, time/money
That it costs more
Lack of critical mechanism to identify SD priorities
IP data methods, agendas, funding
Economic-political system/structures/values
Perceived risk by business and self-regulation that pre-empts legislation
Producers and manufacturers have to invest
Risk for the companies to invest and re-think
Structural/Institutional
Synergy…
Process…
Limited capacity to risk ‘out of the box (Designers)
Lack of institutional support
Lack of (democratic) participation
Vested interests, ‘silos’ with power
Glass boxes
No time (ICT overload?)
Perception is fear/frustration not fun/fulfilment
Too many fragmented initiatives
Education
Lack of knowledge
Quality and dissemination of information regarding resources and impacts
Schooling versus education
No knowledge about sustainable thinking/living
Lack of ‘confrontation’/‘visceral awareness’
Lack of feedback at the point of consumption and hard to analyse remote impacts
Regarding the barrier, ‘lack of training at design school’ (Figure 2c), just under 63%
scored 6 and above with the largest percentage (nearly 19%) again sitting on the fence
and scoring 5. These two scores combined total 81.5% of the respondents scoring 5 and
above – thus expressing their perception of the need for better training of sustainability
issues at design school, (indeed just over 16.5% scored 10 – quite a large percentage thus
perceiving design school training to be inadequate).
10 K. Blincoe et al.
Figure 2 BEDA survey of design associations’ members – scores against (see online version
for colours)
Lack K Des %
6.36
7.77
8.83
4.59
22.98
9.89
11.31
16.97
2.47
8.83
0
5
10
15
20
25
12345678910
Lack K Des
(a) ‘lack of knowledge of designers’
Lack K Cl %
2.47
1.41
3.53
4.24
13.43
6.36
12.01
24.39
11.31
20.85
0
5
10
15
20
25
12345678910
Lack K Cl
(b) ‘lack of knowledge of clients’
Lack Training %
2.54
4.35
6.88
4.71
18.84
9.42 9.42
18.11
9.06
16.67
0
5
10
15
20
25
12345678910
Lack Tr
(c) ‘lack of training in design schools’
Notes: Score 1 = no barrier; Score 10 = considerable barrier. Response expressed
as percentage.
DEEDS: a teaching and learning resource 11
The questionnaire also provided some insight on the profession’s view of its own access
to tools and process to support the implementation of sustainable design practice,
(Question 2), where a score of 1 represents, ‘we have no tools and processes’, and a score
of 10, ‘we already have sophisticated and proven tools and processes’, only 3.83% scored
10. Indeed, only 36% of the respondents scored 6 and higher with the largest group
(24.4%) scoring 5. Nearly 28% scored between 1 and 3 with a total of just over 64%
scoring between 1 and 5. This infers that whilst designers believe they have some
knowledge of design for sustainability, they are both less confident about developing
tools and processes to facilitate the implementation of that knowledge, or do not know
where to find them, (or that their perception is that the tools are few and/or simply do
not exist).
A picture was gradually emerging concerning the needs of the DEEDS target
audiences. The importance of understanding the motivation and incentives was
paramount (Table 3), as was the importance of ‘value addedness’ of sustainability in the
design context. While there were varying lexicons to describe the different target
audiences, the promise of something new, inspiring and innovative that improved future
job prospects seemed common benchmark incentives.
Most users of the DEEDS website and resources want something they can
immediately use to create ‘positive impact’ (answers; tools; solutions; examples).
They also want to be empowered with new competences – a serious challenge, as
this often neglects the learning need associated with developing a broader,
sustainability-based approach.
Design educationalists/teachers can be motivated and attracted to sustainable design
by helping them to reduce their workload, giving them new methods and T&L learning
models while enhancing their status and job satisfaction by adding new dimensions and
challenges to their intrinsic assessment and evaluation criteria.
For design practitioners to be motivated to learn about and implement sustainable
design practices they need to see a clear connection to an increased potential for business
growth. Design companies need to be able to demonstrate greater added-value for their
clients, as well as gaining benefits for their own companies in terms of better-quality
projects and outcomes. They need to see the link to the increased turnover (preferably
with improved profit margins). Where they see a powerful additional; ingredient to their
offer, (supporting distinctiveness in a very competitive marketplace and/or aligning with
the procurement policy requirements of sustainability aware clients), designers will be
more easily attracted to integrating sustainable design into their every-day practice.
Design students can be motivated and attracted to sustainable design by showing
them how it improves their employability and challenges their creativity by widening
their horizons.
Two hypothetical examples demonstrate how needs can be met by understanding the
barriers and motivation:
1 Teachers and students
• Motivation – Higher Educational Institutions (HEIs) are often cash poor.
Teachers need to look for external funding and yet are also trying to get work
experience/placements for their students.
• Means to overcome barrier – by finding an external client that would partner in
setting a competition for the students, generating positive outcomes for the
teacher and the client.
12 K. Blincoe et al.
2 Designers
• Motivation – materials, choice of materials are central to how a
designer operates.
• Means to overcome barrier – by re-positioning and re-educating about
‘sustainable materials’ – where aesthetic, form, properties, and cost can be set
against environmental and social costs; where it can be demonstrated that choice
of a ‘sustainable material’ saves their clients money and is an important task
demanding awareness of a wider context.
Table 3 Incentives for target audiences to adopt sustainable design
For designers:
‘Beauty’
The other shoe (insight)
A new aesthetic for the 21st century
All at once: ‘Beautiful, smart, functional, sustainable’
The business case
From product to service relationships
Deep breaths happily taken – happier practice
Competitive advantage
CV points
Additional transferable skills
Original, inspired, innovative
A new space to play in
For teachers and students:
Education versus schooling
Raising awareness
Creative expression without harm
Guide for the future
Design = art = architecture for society
Greater employability
Fairness, equity
Improve skills + increase knowledge => good life
Chance for better education = chance for a better life
For students:
Education versus schooling
Teaching the young
Trigger systemic change
Raising quality of design
Greater employability
Cooperation and rationality
Reframe the status quo
DEEDS: a teaching and learning resource 1
3
4 SCALES, the core principles for the DEEDS T&L approach
DEEDS derived a generic systematique of themes reflecting the complexity and
multi-dimensionality of the sustainable development concept, ‘SCALES’, that need to be
addressed when considering how design can positively impact on sustainability (DEEDS,
2007; Spangenberg et al., 2007).
SCALES is a complementary set of 24 principles based on:
• Skills (S – nine principles = 3 × 3 principles)
• Creating change agents (C – three principles)
• Awareness – systemic and context (A – three principles)
• Learning together (L – three principles)
• Ethical responsibilities (E – three principles)
• Synergy and co-creating (S – three principles).
SCALES was compared with other systematiques for ecological and sustainable design
published since 1968 (Table 4). The foci for manifestoes up to 1992 was largely around
a holistic approach, awareness of system and context, and eco-efficient production and
resource use. Post 1992 more emphasis was given to ethical responsibilities, ideas
of learning together, and synergy and co-creation. The DEEDS principles embraced
additional focal areas – the importance of communication and leadership, user
empowerment, social aspects and the creation of change agents – and appear to be the
most comprehensive set of guiding principles addressing the challenge of designing for a
sustainable future(s). Later SCALES was exposed to critique in workshops by design
teachers, and their students, and design professionals leading to their current iteration on
the DEEDS website (DEEDS, 2007–2008).
4.1 Skills
DEEDS does not assume that there is one specific kind of “sustainability skills” but has
realised that a diversity of skills in combination is necessary for Design for Sustainability
(this is one of the reasons why DfS with its broad and inclusive approach is stimulating
creativity in design).
4.1.1 Special skills – the holistic approach
Vital for the DfS process is the context, the interrelatedness of the different levels and
aspects of the design problem and processes. It is important therefore to define and
analyse problems from multiple perspectives including the four dimensions: economic,
social, institutional and environmental.
Special skills related to eco-efficient and eco-effective production and resource use
by developing LCT, LCA and cradle-to-cradle skills, become familiar with technological
advancement, dematerialisation, zero carbon considerations, new and sustainable
materials, and, waste considerations. Of equal importance is the integration of efficient
service provision by designing Product-Service-Systems (PSS) and maximising consumer
satisfaction by appropriate material/dematerialised option that expands user experience,
emotion, relation, pride, self-esteem and awareness.
14 K. Blincoe et al.
Table 4 Comparison of DEEDS core principles with previously published green design,
eco-design, ecological and sustainable design systematiques
S3
X
X
X
X
X
X
S2
X
X
X
X
X
X
Synergy and
co-creating
S1
X
X
X
X
X
X
E3
X
X
X
E2
X
X
X
Ethical
responsibilities
E1
X
X
X
X
X
X
L3
X
X
X
X
L2
X
X
X
X
Learning
together
L1
X
X
X
X
A3
X
X
X
X
X
X
X
X
A2
X
X
X
X
X
X
X
X
X
X
X
X
Awareness
– systemic and
context
A1
X
X
X
X
X
X
X
X
X
C3
X
C2
X
X
Creating
change agents
C1
S9
S8
Communication
and leadership
S7
S6
X
X
X
X
X
X
X
X
X
X
X
X
S5
X
X
X
X
X
X
X
X
X
X
X
X
Eco-efficient
production and
resource usage
S4
X
X
X
X
X
X
X
X
X
X
X
X
S3
X
X
X
X
X
X
X
X
X
X
S2
X
X
X
X
X
X
X
X
X
X
Special skills
Holistic
approach
S1
X
X
X
X
X
X
X
X
X
Date/Author
1968 McHarg
1984 Todd and Todd
1986 John Elkington Associates
1991 Team Zoo Atelier Zo
1991 Vale and Vale
1992 McDonough
1996 Burrall
1996 Van der Ryn and Cowan
2001 Demi
2002 Fuad-Luke
2004 RIBA
2004 Pre
2004 Ryan
2007 Chochinov
Notes: Phrases, or words, that the above sources mentioned but that are absent from the DEEDS core principles:
Bio-regionality, diversity, symbiosis, fitness/fitting, emotional – senses, balance, humanising designs, respect for place/site,
respect for users, humanity and nature co-existence, respect for material and spiritual connections, safe objects, understand
limitations of design, humility, responsive to locality (place and people), regenerate do not deplete, make nature visible,
involve all stakeholders, design adaptable to future needs, identify and satisfy real needs, ask ‘why?’ and ‘why not?’, preserve
and restore ‘natural ca
p
ital’, move from
p
roducts to
p
roduct-services.
DEEDS: a teaching and learning resource 1
5
Finally special skills related to communication issues as well as leadership, are vital for
the advancement and integration of sustainability practices in societies. Designers
to become leaders, capable of communicating and presenting the contexts, the
considerations, the pros and cons, working with clients, customers and other relevant
disciplines such as engineers or economists. Making a real impact by understanding the
context and culture of the stakeholders, and be able to demonstrate and communicate the
importance and advantages of sustainability.
4.2 Creating change agents
This principle encompasses the understanding of the expanded field of design and its
processes when implementing sustainability. The designer, in particular by using
the networks (s)he commands and by fully understanding and communicating the
value-added outcomes of DfS, becomes the change agent and also equips the client to
become a change agent, yielding first-mover benefits. This can be achieved by using
approaches which provide significant, immediate and visible benefits for the client and
consumers/society through Corporate Social Responsibility (CSR), ethical consumer
behaviour, cost cutting, competitive edge, waste and energy reduction.
4.3 Awareness – systemic and context
Awareness is step one in DfS. Conscious choices redesign concepts, production
processes, materials, energy usage, generation of waste and end-of-life scenarios are the
first real steps a designer can take. To design in context, be aware of connections and
consequences is a precondition for providing maximum consumer satisfaction with a
minimum of negative environmental impacts (even in mass production) and a positive
balance of social effects. For this behalf, positive and negative impacts, feedback loops
and side effects must be taken into account.
4.4 Learning together
Sustainable design is based on co-creation, co-design, synergistic learning. Social
innovation practiced and promoted more and more by designers is only possible through
mutual learning, team working, inter- and trans-disciplinary thinking and practice.
Reciprocity, T&L through participation involving stakeholders, form the foundation of
sustainable solutions. More and more design companies engage in this way of designing,
where the designer becomes the facilitator rather than the creator of design solutions – a
challenge to design’s collaboration and communication capabilities.
4.5 Ethical responsibilities
An ethical design company creates design solutions that do no harm (responsible design,
with integrity), but contribute to a sustainable way of a ‘good life’.
An ethical design company offers design that enhances personal standing and
acceptance, and thus social sustainability and encourages user involvement (consumer
empowerment. It develops practical, functional and fun design (experiences not objects).
16 K. Blincoe et al.
The ethically responsible design company is no longer a figment of the imagination
of design visionaries, but a concept which design companies will have to decide to
embark on sooner rather than later. As CSR is becoming an integral part of company’s
culture and business in general, the design company will have to follow suit in more than
wording or could loose potential clients/market.
The professional design associations have the opportunity to promote sustainable
design practice through their individual members across Europe. Indeed there is evidence
that some are already incorporating sustainability criteria as a requirement of membership
and it is hoped that this trend will continue to grow.
4.6 Synergy and co-creating
The imperative is to engage in synergistic collaboration. Competence clusters are
practiced with great success by a number of companies in the EU. Partnerships,
collaboration, sharing and including stakeholders in development of design solutions
are essential elements in the implementation of sustainability and DfS. Therefore, it is
necessary to engage the client, the suppliers, the consumers and the community.
SCALES offers a most comprehensive set of criteria that:
• embraces the scope of previous criteria yet adds new ones found to be essential when
understanding DfS as a broader challenge than DfE
• can be easily adapted and ‘owned’ by an individual or a group, initiating a process of
learning by doing
• can form a reference point to demonstrate how case studies embed the principles
• allows for each principle to become the basis of a teaching module and/or an
example case study
• provide a philosophical and practical foundation for a pluralistic approach to
developing DfS T&L pedagogy and practical tools serving as a benchmark.
5 The PodScape
Within the guiding ethos of SCALES and its inherent complexity, using the knowledge
the project partners have collected about their target audiences, the DEEDS partners are
developing a concept for a web-based T&L resource involving ‘pods’ that are located
within a ‘pod landscape’ or PodScape.
We envisage that the PodScape will comprise the widest possible range of
contributions, including resources relating to:
• pedagogic research, theories, approaches, and experiments in sustainable
design education
• the practical implementation of sustainability in design education (e.g., project work,
case-studies, best practice, partnership with industry)
• political, institutional, and philosophical aspects of sustainable design education.
DEEDS: a teaching and learning resource 1
7
Pods can be created by DEEDS or by web visitors using a guide that encourages the
creators to consider the new thinking, behaviour, practical outputs and experimental
forms including concepts, prototypes and one-offs. Each pod is ‘tagged’ with information
that enables other pods and other parts of the landscape to be connected, revealed and/or
explored at a macro or micro scale and users will be able to navigate the PodScape
according to their specific needs, either slowly, quickly, randomly or cooperatively,
enabling learning by doing, by experiencing and/or by participating.
6 A new unit of study at the University of Brighton
As an outcome of involving various design disciplines in the ongoing dialogue within
the DEEDS project, a new Unit of Study (UoS) is being created in the architecture
programme of the School of Architecture and Design at the University of Brighton.
The envisaged ‘Sustainable Practices’ unit will be an integral part of the undergraduate
curriculum in architecture. The motivation for introducing this new unit comes not only
from the increasing awareness of the importance and potential benefits of DfS education
amongst lecturers, but the growing demand by students to bring sustainability thinking
into design education in a holistic fashion – as a positive, generative principle rather than
an afterthought. Consequentially a group of lecturers has begun to think about ways in
which existing, but isolated DfS teaching elements and expertise in various subject areas
(studio-design, technology, history and theory) could be inter-linked, expanded, and
turned into a common ground for future DfS teaching. The new Sustainable Practices unit
is a first step in this direction: it will be staffed by tutors from the different areas, with
additional input from programme-external lecturers; it will enable students to develop a
holistic and creative understanding of sustainability in design; and it will act as a catalyst
for the development of new, sustainable forms of design teaching across the programme.
The unit will also work with, and contribute to, the PodScape. Importantly, these efforts
are part of a fast growing movement across the University that promotes sustainability
thinking in general and the integration of ESD into the curriculum in particular, and has
lead to the recent establishment of a University-wide Sustainable Development network.
7 Co-design at the Academy of Fine Arts, Poznan
Students have been engaged in several projects to test T&L approaches within the
DEEDS project, in particular the co-design approach, and tools, such as the LiDs or
eco-strategy wheel (van Hemel, 1994). Co-design is seen as a design approach involving
participation of various actors and multi-stakeholders in the design process that is starting
to be applied to commercial and social projects (Fuad-Luke, 2007, pp.38–43; Thackara,
2007, pp.70–73). Co-design is “predicated on the concept that people who ultimately
use a designed artefact are entitled to have a voice in determining how the artefact is
designed” (Carroll, 2006).
Second, third and fourth year students commenced a project entitled ‘Humanising
space’, in cooperation with the Poznan International Fair, in which they applied
sustainability techniques to the design thinking. The project site concerns a new public
space linking the four halls at the Poznan International Fair exhibition centre. Recent
18 K. Blincoe et al.
revitalisation has made it possible to achieve a roofed space, where an existing avenue of
linden trees was retained untouched. Architectural design concerned spatial arrangement
and merging the elevations of existing, recently rebuilt halls, which have different
dimensions and which were built in different periods. The whole area has been covered
with a glass ceiling of an interesting construction.
However, the area achieved does not fully measure up to the expectations, and the
objectives, and the functional arrangements are unclear and complicated. The whole
project requires a clear, holistic design conception of the interior, which would allow
effective use of the new conditions to improve the comfort of the users. To this end the
students undertook a survey of the site and interviewed many of the stakeholders
involved in order to obtain their input into generating appropriate design briefs for
interventions in the space that would help humanise it. Detailed designs were generated
by the students who later applied a modified LiDs wheel to improve the eco-efficiency
considerations of their concept designs. Student outcomes (Figures 3a–3b) demonstrate
that “the sustainability context expands the boundary of what design is, what it does and
also who is involved….” (Fletcher and Dewberry, 2002).
Figure 3 Humanising space (see online version for colours)
(a) Structure (b) Seating
DEEDS: a teaching and learning resource 1
9
The project is one of three parallel eco projects at the Academy of Fine Arts in Poznan. It
helps to change the awareness and sensibility for the sustainability thinking among
students, young professionals and the teaching staff.
8 Concluding observations and remarks
This paper provides an interim snapshot of the basic approach and some of the
achievements to date in the DEEDS project. It is expected that more substantial content
will be uploaded to the website January 2009. The observations and remarks to date
should be seen as a work-in-progress. However, the DEEDS project is a significant
positive development in the evolving story of DfS teaching and practice. It embeds an
approach predicated on the idea that participation by designers with each other and with a
variety of actors and stakeholders, is key to maximising the value-added that design can
offer to the socio-economic and political journey towards more sustainable ways of living
and working, while helping to regenerate the environment, strengthen social cohesion and
fostering international justice (the latter being the economic/institutional dimension of
sustainability). The power of the DEEDS project is that it has evolved through a process
of mutual learning, between the partners themselves, and between the partners, target
audiences and other stakeholders. This has generated some positive complementary
outcomes – an extensive set of principles (SCALES); a diverse and growing set of
resources on the DEEDS website (DEEDS, 2007–2008); changes in T&L practice at the
two Higher Education partners in the DEEDS project; and a participatory T&L
landscape, the PodScape. At the root of this ongoing process is the belief that the diverse
design communities of Europe all have something to contribute to the understanding of
the potentiality of ‘embedding design into sustainability and sustainability into design’.
In order to encourage dissemination of the results of the DEEDS project, and to
encourage wide use of the resources generated, there are a number of key conferences
and events in Copenhagen, Denmark (October 2008) London, UK (September 2008),
Brighton, UK (September 2008), Poznan, Poland (October 2008), and Brussels, Belgium
(November 2008). The challenge is to get the designers of Europe involved through these
events or by accessing and contributing via the website. While the European Union’s
Leonardo da Vinci funding for the project finishes end December 2008, the partners’
intention is for the DEEDS project to continue to grow beyond the life of the project itself
through increased participation. It is their hope that, in the near future, DEEDS can
become a home for a better-informed, Europe-wide understanding of the significant
opportunities for design that exist through embracing and integrating sustainability
behaviours and know-how, which in turn, will help to future-proof those who contribute
to the design industries and design communities both in Europe and beyond.
20 K. Blincoe et al.
References
Carroll, J.M. (2006) ‘Dimensions of participation in Simon’s design’, Design Issues, Cambridge:
MIT, Spring, Vol. 22, No. 2, pp.3–18.
Chapman, J. and Gant, N. (2007) Designers, Visionaries and Other Stories: A Collection of
Sustainable Design Essays, London, UK: Earthscan.
Dawe, G., Jucker, R. and Martin, S. (2005) ‘Sustainable development in higher education: current
practice and future developments’, A Report for the Higher Education Academy, November.
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DEEDS (2007–2008) http://www.deedsproject.org (accessed May 2008).
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International Journal of Sustainability in Higher Education, Vol. 3, No. 1, pp.38–47.
Fowles, B., Corcoran, M., Erdel-Jan, L., Iball, H., Roaf, S. and Stevenson, F. (2003) Report of the
Sustainability Special Interest Group (Architectural Education) on behalf of the Centre for
Education in the Built Environment, May.
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Stories, Chap. 2, London: Earthscan, pp.18–52.
ICIS/University of Lund (2005) ‘Survey of sustainable design education’, Unpublished report,
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Sustainable Design Forum, Design Council, UK, 27 June.
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Notes
1 Following BEDA’s meeting with EU Commission President Barroso and Commission Vice
President Verheugen in October 2007 and January 2008 respectively, the Commission has
indicated that it will produce a ‘Communication on Design’ in 2009.
2 See ICIS website: www.icis.org.
3 Quoted in Fowles et al. (2003).
DEEDS: a teaching and learning resource 21
Appendix 1
BEDA questionnaire on behalf of DEEDS – May 2007
DEEDS – A European project to create tools and processes for the development of more sustainable design practice across Europe.
Embedding sustainability in design and design in sustainability.
We would be grateful if you could please respond to these three questions and return by Friday 18 May 2007 to: deeds@beda.org. Thank you.
Please tell us what type of designer/s you are. (graphic, product, interiors, new media, etc.): ____________________________
1 Do what extent do you think design can have an impact on climate change issues?
Please circle the number you wish to choose
1= not at all 10 = a considerable and direct effect
1 2 3 4 5 6 7 8 9 10
Additional comment: _______________________________________________________________
2 To what extent, as a practising designer, do you feel you have the necessary tools and processes to support the implementation
of sustainable design practices?
Please circle the number you wish to choose
1= I/We have no tools and processes 10 = I/We have tried and tested tools and processes
1 2 3 4 5 6 7 8 9 10
Additional comment: _________________________________________________
______________
3 As a professional designer, what do you believe are the greatest barriers to practising sustainable design?
Please rate the following on a score between 1 – 10 where 1 = not a barrier and 10 = a significant barrier.
Lack of knowledge of designers 1 2 3 4 5 6 7 8 9 10
Lack of knowledge of clients 1 2 3 4 5 6 7 8 9 10
Lack of training in design school 1 2 3 4 5 6 7 8 9 10
Other barriers ____________________________________________________________
Additional comment: ____________________________________________________________
22 K. Blincoe et al.
Appendix 2
Countries from which responses were received to the BEDA
sustainability questionnaire
Belgium
Denmark
Estonia
Finland
France
Germany
Italy
Luxembourg
The Netherlands
Poland
Slovenia
Spain
Sweden
UK
DEEDS: a teaching and learning resource 2
3
Appendix 3
Breakdown of responses to BEDA questionnaire by (respondents’ self-declared)
design discipline
Design discipline Respondents Percentage (%)
Mixed (multi-discipline) 111 39.22
Product and industrial (including packaging and furniture) 80 28.27
Graphic and communication (including new media
and typography)
67 23.68
Interior 19 6.71
Architect 2 0.71
Environment and eco-design 2 0.71
Fashion 1 0.35
Design buyer 1 0.35
Totals
283 100
