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The value of imperfection - Il valore dell'imperfezione
1. The value of imperfection Reassess injection moulding defects for sustainability POLITECNICO DI MILANO F. Ostuzzi, G. Salvia, V. Rognoli, M. Levi
2. Contest of crisis: + economic + social * + environmental … Can designers interpret and turn the * Zygmunt Bauman, (2005), Liquid Life , Polity Press, Malden, USA. current context into an opportunity ?
3. Our focus was centered on the approach of designers to Objects of the crisis defective products, that are discarded , ignored or abandoned before time in
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6. cradle to cradle * * Mc Donough W. Braungart M. (2002), From cradle to cradle, remaking the Way We Make things , North Point Press, New York, USA.
7. With the goal of prolonging artefacts life-span * A sustainment is much more about extending the life of existing products , than it is about reducing the ecological impact of our wastefulness ** * Vezzoli C. Manzini E. (2008), Design for Environmental Sustainability , Springer London, London ** The EcoDesign Foundation, (2004)
8. satisfaction and dissatisfaction cycles, theorized by Martin Woolley * link the degree of satisfaction/dissatisfaction of the product with different temporal phases (short, medium and long term) and the mood of the user
16. In this way the notion of attachment and empaty ** and also the aging of products and the accumulation of meanings over time become an incentive also for Design for Sustainability * Lalande P. The Metamorphosis of Products: a Sustainable Design Strategy That Favours Increased Attachment , Université de Montréal. ** Walker, S. 2009, After Taste - The Power and Prejudice of Product Appearance . The Design Journal.
17. attachment and empaty increase also thanks to the imperfection because the imperfection itself might become the reason of uniqueness of industrial products , evidencing the disorder of real life * * Sommerville S., Candy F.J., Kälviäinen M., Oksanen H. 2003, Temporal Transformation of Materials: Can Designers Harness the Effects of Time to Create a Contemporary Aesthetic of ‘Worldliness’ within New Products?
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19. In the past an entire culture based its aesthetic on the value of imperfection Wabi Sabi - Japan – 900 d.C.
20. Wabi sabi is the beauty of imperfect temporary uncompleted things .. the beauty of humble modest things .. the beauty of unusual things **
21. many examples of everyday objects that surrond us are already belonging to such a conception of the world
25. * Roman Opalka, Martino Gamper, Efeito D, Illywords “Re-evaluate the error” Some examples coming form the design and artistic field
26. In the wabi sabi idea the product starts as an imperfect object and thanks to this imperfection it tends asymptotically to perfection
27. the same system wiki, Wikipedia * uses a programming model that is based explicitly on the idea of Wabi Sabi * Wikipedia born on the 2001, founded by Donald Wales
29. They suggest the creation of objects with the potential to be kept alive longer * this lifespan elongation is possible thanks to: + the emotional relationship user-product + the revaluation of imperfections , the signs of time and use Takara J. (2005 ), In the Bubble: Designing in a Complex World, MIT Press, Cambridge
48. the particularity of this product is being formed by waste production materials these materials usually considered imperfect can still be used in such a product, making it unique
65. so thanks to flexible technologies and to a deep knowledge about processing , designers can try to generate unique products without huge investements or even re-eveluating what would have been discarded.. ..because of this remark we decided to develope a specific case study
66. + the material + the forming process: INJECTION MOLDING + the assembly stage The idea is to re-evaluate the waste that is generated during production In specific the one coming from the injection moulding process
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68. the average waste percentage in the production is between 2 % and 20 % * ..and most comes from the start-up phase of the process * T.A. Osswald, L. Turng, P.J. Gramann, Injection moulding Handbook , (2002), Hanser Publisher, Monaco
70. they can be divided into systematic flaws or sporadic flaws
71. systematic flaws .. are those that appear systematically usually because of a lack of design or because the material they can be exploited, depending on their influence on the piece and on their aesthetic value
73. Dishomogeneous color The purging of the machine requires: time, money and materials (since it is necessary to stop the production)
74. As written in the Directive 2008/98/CE * we have to prefer reuse instead of recycle , from the environmental point of view * Effective from the 12 december 2010
76. sporadic flaws usually comes from the start-up phase of the process ..considering these defects doesn’t imply a lack of planning, rather a creative action is needed to identify different context of use
77. Flashes Causes: mold, machine and design of the piece This flaw doesn’t have structural implication on the piece * * Swift K.G., Booker J.D. 2003, Process Selection: from design to manufacture , Butterworth-Heinemann, Woburn
78. Flashes Red and white vases , Hella Jongerius for Royal Tichelaar Makkum, 1998
85. Inside the chart defects have been correlated with their influence on the objects
86. ..from our point of view, such a exercise could be extended to all transforming processes Becoming a vade-mecum for designers whom knows the process in its completeness , which implies knowing also the flaws typical and sometime unavoidable of the process itslef
87. Established imperfections validate the continuity of the relationship * leading us to increase our sense of respect for the product , which can be characterized by the peculiar human uniqueness in opposition to the mass production * Sommerville S., Candy F.J., Kälviäinen M., Oksanen H. 2003, Temporal Transformation of Materials: Can Designers Harness the Effects of Time to Create a Contemporary Aesthetic of ‘Worldliness’ within New Products?
88. … Can designers interpret and turn the current context into an opportunity ?
89. opportunity of uniqueness for users Clouds by Bouroullec Brothers for Kvadrat, 2008 RD Roughly Drawn by R. Liddle for Cohda, 2009 Molletta per bucato by Giulio Iacchetti for Coop, 2008 13 Ricrea by A. Mensi, I. Taro, C. Merlo, 2007 of creativity for designers of economy for industries opportunity of sustainability
90. Our hope, as designers, is to try to turn this particular context into an incentive to change the approach of the designers to what we called Objects of the crisis in
91. “ Crisis bring failures and unemployment, but they also break down old patterns and reward those who have the courage to innovate ” * * Fitoussi J. (2009) The Economist, UK
