Designing for Emotional Durability
Submitting Institution
University of BrightonUnit of Assessment
Art and Design: History, Practice and TheorySummary Impact Type
SocietalResearch Subject Area(s)
Studies In Human Society: Anthropology
Studies In Creative Arts and Writing: Visual Arts and Crafts
Summary of the impact
CHAPMAN's research into emotionally durable design has radically shifted
the values and practices of global businesses, helping them to cut waste
and to enhance product, material and brand value. Through publications,
exhibitions, master-classes and films, this research has transformed
understanding of sustainable design in professional (Puma, Sony), policy
(House of Lords, UN) and cultural (Design Museum, New Scientist)
settings, propelling the field beyond its focus on energy and materials,
towards deeper engagements that link psychosocial phenomena with ideas
about consumption and waste. Furthermore, it has contributed to public
debate and policy with the effect that the term `emotional durability' has
now entered the international design lexicon, providing valuable shorthand
for complex phenomena influencing product longevity.
Underpinning research
Over 40 tonnes of waste are produced for each tonne of products made, and
users discard 98% of products within just six months of purchase. Sony's
General Manager of Sustainability (2013) remarks on this situation,
stating: `research into emotionally durable design has a vital role to
play in combating rising levels of e-waste and obsolescence. It tackles
the challenge of weaning people off their desire for the new, and helps
shape new sustainable business models.'
CHAPMAN first published the theory of emotionally durable design in his
monograph [reference 3.1]. Initiated in 2002, this ongoing research into
the behavioural dimensions of product-life extension presents strategic
counterpoints to our `throwaway society' by developing design tools,
methods and frameworks that enhance the resilience of relationships
established between consumers and their products. These include approaches
ranging from laboratory- and workshop-based studies into the way various
material surfaces age, to working with groups of users in seminars and
focus groups to co-create new design frameworks, supporting not the design
of durable `products' but the design of durable `meaning' and `value' that
the product delivers.
Unlike other research into product-life extension — such as van Hinte
(1997), Cooper (2002, 2010), Slade (2007) and Walker (2007) — CHAPMAN's
work originates from a theoretical position but is developed further to
generate impact within broader professional settings. CHAPMAN's practical
and theoretical research is underpinned by two essential research
questions:
- why do we discard products that still function?
- how can we design products people want to keep for longer?
Following growing levels of citation in the journal Design Issues,
CHAPMAN was invited by the editors to present his research to an academic
audience [3.3]. In this journal article, CHAPMAN delivered a design
framework for the creation of emotionally durable products, which informed
and shaped new ways of designing longer-lasting products. This framework
was informed by conducting the largest product-life census of its kind,
staged at 100% Design, with 2,154 respondents (CHAPMAN and GANT
2006-2008). Concluding in 2008, this three-year industry funded (£125k)
research used interactive exhibitions, creative workshops, seminars,
product development studios and a product-life workshop formed of 22
designers, behavioural scientists and material specialists to create
experimental product proposals that respond to, and test, theoretical
findings.
By co-creating these propositional objects, dense and impenetrable
theoretical language was translated into a format that everyday people
could engage with and discuss. This led to a more direct engagement with
users through focus groups and user-testing scenarios, which fostered
deeper insight into the meaning and place of products in everyday life. An
edited book [3.2] was also produced to capture key insights of this
research.
In addition to providing a core element of the Design Issues
article [3.3], CHAPMAN's framework was presented as both written and oral
evidence to the Science and Technology Sub-Committee 1, one of the main
investigative committees in the House of Lords, as part of their Enquiry
into Waste Reduction (2008). The report that followed informed a debate in
the House of Commons by Members of Parliament (October 2008). This
framework was also published [3.4].
With Puma, CHAPMAN researched and produced the `50 Ways of Thinking and
Doing Sustainable Design' toolkit, a framework now referred to across
Puma's five design centres worldwide. The research involved significant
archival work and design industry surveys in order to establish an
extensive catalogue of design approaches. Importantly, this was not just
about sending out large numbers of e-questionnaires, but rather was
conducted through a more focused form of face-to-face interviewing at
carefully staged events; providing a more direct and confrontational form
of engagement, which, in turn, inspired a deeper and more extended form of
response. This archive was then reframed with a more accessible and direct
language and distilled down to a collection of 50 annotated icons.
The Puma Sustainable Design Collective (PSDC) was established around a
series of four master-class events. These events provided a critical and
intellectual space to examine the `50 Ways of Thinking and Doing
Sustainable Design' toolkit and generate original insight as to its
application within the business. A documentary film was produced to record
and share these insights across the business.
Key researchers:
Jonathan Chapman: |
Senior Lecturer (Aug 2004–Feb 2009), Principal
Lecturer (March 2009–Jan 2013), Professor of Sustainable Design (Jan
2013–to date). |
Nicholas Gant: |
Senior Lecturer (Sept 2000–July 2006), Principal Lecturer (Aug
2006–to date). |
References to the research
[3.1] CHAPMAN, J. (2005) Emotionally durable design: objects,
experiences and empathy. London: Earthscan. [Quality validation:
submitted to RAE2008 — RAE2008: output profile 81% 2* and above.]
[3.2] CHAPMAN, J. and GANT, N. eds. (2007) Designers, visionaries and
other stories: a collection of sustainable design essays. London:
Earthscan [Quality validation: submitted to RAE 2008 — Output quality
profile for RAE 2008: 81% 2* and above.]
[3.3] CHAPMAN, J. (2009) Design for (emotional) durability. Design
Issues. 25 (4) pp.29-35 [Quality validation: submitted to REF2014;
see Output 2, and also double peer reviewed.]
[3.4] CHAPMAN, J. (2010) Subject object relationships and emotionally
durable design. In COOPER, T. ed. Longer lasting solutions:
alternatives to the throwaway society. pp.61—76. London: Ashgate.
[Quality validation: submitted to REF 2014 see Output 3, and reviewed by
the editor and three independent reviewers.]
Details of the impact
Changed the values and practices of global businesses: The theory of
emotionally durable design has shaped policy discussions and transformed
the thinking, practices and values of some of the world's largest consumer
brands. With Sony (2012), for example, CHAPMAN's research advanced their
sustainability journey by informing a `one device for life' approach to
modular mobile technology (source 5.1). Sony's General Manager of
Sustainability reports: `(CHAPMAN's) research into emotionally durable
design has helped shake up the way designers, researchers and
futurologists think about the relationships between people, technology and
sustainability. It has shifted the language in this space and contributed
directly to the Sony FutureScapes project and development of the Wandular
concept' (5.2). The outcomes of the Wandular project were then exhibited
at the London Design Museum (July 2013) as part of The Future is Here
show, in partnership with the Technology Strategy Board (TSB). A section
of the show was dedicated to professional design work that responded to
the theme of `Emotionally Durable Design' (5.3).
Working with Puma (2009—2013), CHAPMAN developed the `50 Ways of Thinking
and Doing Sustainable Design' toolkit, a visual framework that aims to
enhance the ecological performance of products and processes at Puma. This
visual toolkit was blown-up and mounted on the studio walls of Puma's five
Global Design Centres, providing inspiration, support and guidance to
designers during the design process. CHAPMAN conducted a series of
sustainable design master-classes (2012), with attendees from Puma along
with designers from leading brands in the sector such as SeymourPowell,
Adidas, Dragon Rouge, IDEO, Wolff Olins, H&M, Marks & Spencer and
ASOS. A documentary film was developed from this that presented the key
findings from the sessions (5.4). This was disseminated across the Puma
Global Network and to the rest of the PPR group, which own brands such as
Gucci, Stella McCartney, Alexander McQueen and Balenciaga. The documentary
film that resulted from these critical sessions was broadcast across PUMA,
worldwide, receiving over 900 full views (start to finish), within just
two weeks of it being posted online. The film was launched on a large
outdoor cinema screen at the `360 Global Meeting' in Germany 2012, which
was attended by Puma staff, including senior executives, and
representatives from Puma's parent company. According to Puma's Head of
Global Sustainability Strategy: `CHAPMAN's research has advanced our
thinking on sustainable design and made a considerable contribution to our
quest for enhanced resource efficiency, and increased product and brand
value. His lectures, master-classes, workshops and training films have
helped to move our sustainability story forward by shaping the attitude
and approach of our designers and management teams' (5.5).
Contributed to public debate and policy: Research into emotionally
durable design has generated significant levels of attention in the media
and ignited policy debate, with examples including: BBC Radio 4 Today
programme (2013), United Nations (2013), The Royal Society for the
Encouragement of Arts, Manufactures and Commerce (2013), the Guardian
(2013), ITV (2013), BBC Radio 4's Material World (2011), the Telegraph
(2011), BBC Radio 4's Click-On (2009), The House of Lords (2008),
and the New York Times (2008). BBC Radio 4's Today
programme introduced Chapman's research as `the birth of a social
movement', while articles about him in The New Scientist refer to
him as `a new breed of sustainable design thinker' (2007) and one of the
key `movers and shakers' in the development of new approaches to
sustainable living (2008) (5.6).
In 2008, the Science and Technology Sub-Committee 1 of the House of Lords
called upon CHAPMAN to present his theory of emotionally durable design as
written and oral evidence. This formed a central part of their Enquiry
into Waste Reduction (February 2008) arguing for reductions in the
generation of e-waste, by increasing the lifespans of a range of domestic
electronic products in accordance with the EU WEEE Directive. The report
that followed was later discussed and critiqued in the House of Commons by
Members of Parliament (October 2008). The report informed the Government's
latest Waste Policy Review (2011), which proposed an economy where
resources are used sustainably `through design for longer life, upgrading,
re-use or repair' and encouraged companies to `design and manufacture
goods that are more efficient, durable, repairable and recyclable' (5.7).
Building on this, CHAPMAN was asked if he would like to contribute to a
document for the UN Industrial Development Organization (UNIDO)
emphasising the importance of this research. The article was prefaced by a
statement saying: `emotionally durable design presents a robust economic
model for creating products, services and brand loyal customers — driving
future sales, upgrade, service and repair' (5.8).
CHAPMAN's book is core reading at many of the world's leading design
schools (Parsons, The Royal College of Art, Stanford, TU Delft, Seoul
National University). Due to the sustained international success of the
book, a subsequent 2nd edition has been commissioned
(Routledge, 2014), with editions in Chinese (2012), Spanish (2010) and
Korean (2009) (5.9). In addition, the theory of `emotionally durable
design' now has a specific entry in Warwick University's Glossary of
Design, Education and Cognitive Science (5.10).
Sources to corroborate the impact
5.1 Promotional film for Sony's Wandular project. The film locates
emotionally durable design at the heart of the Wandular project. This
project has enabled Sony designers to question and rethink the way in
which technology is `made' and how emotionally durable design can create
new emotional, sustainable, and financial benefits to people and
businesses alike. Supplementary evidence includes discussion of Wandular
and emotionally durable design in Sony's 2012 Editorial Plan. Available
at:
http://m.youtube.com/watch?v=BTY_HP5YQOA&desktop_uri=%2Fwatch%3Fv%3DBTY_HP5YQOA
[Accessed: 11 November 2013].
5.2 Testimonial available from Sony Europe's Sustainability Manager. The
testimonial highlights CHAPMAN's contribution to sustainable development
projects and the way in which this has affected the way in which Sony
think about and engage with sustainable design.
5.3 Data from the Design Museum on The Future is Here exhibition
that includes the press release for the exhibition, visitor figures, and
webpage statistics. Complementary evidence includes reviews discussing the
exhibition (and specifically the Wandular concept), and the permanent
webpage on emotionally durable design that was added to the Design Museum
website in July 2013.
5.4 Film produced by Puma's Sustainable Design Collective based on
CHAPMAN's master-classes and lectures. Supplementary evidence includes
visual documentation of the way in which Puma has incorporated the Toolkit
into its working landscape, and an attendee list for the Puma Sustainable
Design Master-class Series (the list includes interior designers, textile
designers, account managers, ecologists, design engineers and corporate
heads of design strategy). Film available on request.
5.5 Testimonial available from Puma's Global Sustainability Strategy
Lead. The testimonial highlights how CHAPMAN has advanced Puma's thinking
on sustainable design and made a considerable contribution to its quest
for enhanced resource efficiency and increased product and brand value.
5.6 Recording of, and webpage dedicated to, the interview on BBC Radio
4's Today programme. Supplementary evidence includes a selection
of newspaper and magazine articles and interviews that discuss emotionally
durable design. Available at: http://m.bbc.co.uk/news/science-environment-21393404
[Accessed: 15 November 2013].
5.7 Report from House of Lords Science and Technology Committee, 6th
Report of Session 2007—08, Waste Reduction: Volume 1. Report
available on request. Supplementary evidence includes the full details of
evidence submitted and the Government's subsequent Waste Policy Review.
Available
at: http://www.publications.parliament.uk/pa/ld200708/ldselect/ldsctech/ldsctech.htm
[Acces sed: 15 November 2013].
5.8 Email showing the UN's interest in the idea of emotionally durable
design. Complementary evidence includes the August publication of Making
it Magazine. This includes an article on CHAPMAN's work, which
highlights its importance and relevance globally.
5.9 Testimonial available from the Reader in Sustainable Fashion at the
University of Arts London that highlights how the theory has permeated
learning and teaching in design for sustainability in fashion and become
an important point of reference.
5.10 A copy of Warwick University's Glossary of Design, Education and
Cognitive Science, in which CHAPMAN's concept of emotionally durable
design has a dedicated entry. Available at: http://www2.warwick.ac.uk/fac/soc/wie/courses/degrees/docs/who/students/edrvah/glossary/#e
[Accessed: 11 November 2013].