What do we still need to know and do to speed up circular development? Researchers and entrepreneurs have joined forces to collect research topics to create a roadmap for research on the circular economy and the role of the creative professional. Marien Korthorst, Siem Haffmans, Inge Oskam and Conny Bakker were involved in this process and will highlight what issues they think are most urgent. Conny will then present an interesting new research topic and issue that all designers shoud be aware of: how do the different conceptualisations of product integrity in a circular economy influence the design of products? Different concepts of product integrity in a circular economy are currently being promoted. There are two dominant and almost opposing concepts: the ‘open loop, open source’ concept and the ‘closed loop, closed source’ concept. These concepts vary widely in the extent of product transparency they propose, the responsibility for creating cyclical product and material flows, and the view of what constitutes a ‘good’ or a ‘bad’ circular product. These issues are very relevant regarding the realization of a circular economy and the provision of guidelines for circular product design. In today’s breakout sessions different domains will be explored: circular fashion, products that flow, circular architecture, consuming circular value, and resource driven design. Speakers form these sessions will present their vision on the questions of today and share the fresh insights form the breakouts. To round of the day and start the speeding up of circular development through design, CLICKNL managing director Bart Ahsmann and Erik Roscam Abbing will digest their insights of today and present concrete action points for everybody present. Speakers: Conny Bakker, Kees de Boer, Ingeborg Gort-Duurkoop, Siem Hafmans, Lucie Huiskens, Marien Korthorst, Ruth Mugge, Mark Oldengarm, Inge Oskam Moderator: Erik Roscam Abbing

5. ROADMAP RESEARH CIRCULAR
ECONOMY FOR THE CREATIVE
INDUSTRY

6. Stay updated and
join the dialogue
at CIRCO Next Steps Live
and online CIRCOnl.nl

7. STARTDOCUMENT

8. “Designers still work using the traditional ‘sell more
sell faster’ model. The idea that there is no ‘end’ to a
product or material, is still a completely new concept
for many designers. The circular model will turn the
design process upside down. This means that design
education also has to be completely rethought. In the
meantime, we need to ensure that our design
methods and design strategies develop further.”

9. “How can we ensure that the “designer” will think and
act at a (more) strategic level (… and thus will be
accepted as a strategic design consultant)?
Many designers still work on designing products
directly from a client-briefing. Circular design calls for
a system approach, which may not even require a
product. The core competencies of the future circular
designer are: strategic thinking, analytical ability,
proactivity, creativity, collaboration and
communication.”

10. “As designers, we can make connections; we can
bridge the gap between the theory and daily practice
of the design and development process. How can we
ensure that all stakeholders are committed to
developing a ‘circular economy mindset’ throughout
the chain: from production, use, and to end-of-life?”

11. “The creative industry can play an important role in
deploying residual flows and closing cycles. We need a
greater understanding about how to develop systems
for using residual materials, which include both user
feedback and acceptance.
In short: how can we develop more products from
residual materials that are designed so that they are
attractive to the user?”

14. When to apply which design strategies in the
context of a circular economy?
-> Depends on the route towards a circular economy
-> ‘Open’ and ‘Closed’ scenario
-> Implications for design

15. “Open loop, open source” scenario
-> Enable consumers to be active participants in the
creation of a circular economy
-> Customer value: empowerment

16. “Open loop, open source” scenario
-> Responsibility for care, maintenance, repair,
upgrade rests with consumers and network of (often
informal) third parties.
-> Repair information, spare part availability, product
lifetime labeling, extended warranty.

17. [image Bottom up repair cafes / consumers take
responsibility. For repair and asking for information]

18. IMAGE FAIRPHONE

19. Open loop, open source
+ Consumer engagement => product attachment
+ Stimulate entrepreneurship (gap exploiters)
- Transferring risks to consumers
- Consumer ‘scapegoatism’

20. “reversibility is key”
“go for modularity”
“allow everything to be
separated and reassembled
again”
“openness is the key to
circularity”

21. “Closed loop, closed source” scenario
-> Responsibility of the OEM to shape a circular
economy and provide customers with a high-quality,
comfortable & circular product experience
-> Customer value: unburdening

22. “Closed loop, closed source” scenario
-> maintenance, upgrade, and repair is done by OEMs
in both B2B and B2C markets
-> Access and performance models

23. IMAGE SCHIPHOL]

24. [IMAGE HP RETURNING CARTRIDGES]

25. “Closed loop, closed source” scenario
+ OEM in control: optimize closed loop systems
+ Take away ’burden of ownership’
+ More jobs in service industry
- Customers not allowed to compromise product integrity

26. “upgradable”
“modular”
“easy to disassemble”
“easy to service”

27. Design strategies compared
-> At first glance: many similarities
-> Both value product durability, adaptability, ease of
maintenance and upgradeability

28. Is product design the same for both ‘open’
and ‘closed’ scenarios?
-> No, because the context is very different.

29. Example
”Open” scenario: self-repair (“empowerment”)
“Closed” scenario: serviced repair (“unburdening”)
-> Design for ease of maintenance and repair is very
different in both cases

30. Conclusion
Product design decisions are highly dependent on
the route towards the circular economy.
Designers need to be able to explore the different
ways forward.
Empowerment vs Unburdening?

31. Examples
-> Introduce different levels of self-repair
-> Embrace second hand market (support reuse)
-> Team up with service partners to explore new
business models
-> ‘Open’ design and ‘closed’ service

32. IMAGE CAR]

35. Challenge in circular development
We (designers, producers, users) should get rid of the idea
that materials in products should be new and see the value of
reusing discarded materials. What kind of new materials can
result from this, what is their added value, and what kind of
innovations will be made possible? I find it especially
interesting if discarded or recycled materials add value. For
example, with regard to touch & feel (haptics) or aesthetics
and ‘the perfection of imperfection’.
Role of the creative professional
To experiment with second chance materials and shape its
unique value in circular designs and business strategies. For
example by using the perfection of imperfection.

38. Challenge in circular development
Working together in a circular chain. With regard to festivals, this
means meeting with many different stakeholders: festival organizer,
municipality, brand owner, product manufacturer, and the waste
collector or those involved in reuse, recycling.
Role of the creative professional
The creative professional is responsible for initiating and facilitating
this collaboration with those involved in the circular chain. The
creative professional needs information from all these stakeholders in
order to ensure a good product / service combination. This
information shouldn’t be collected in individual steps; the entire
group should work together. This is best done on-site, so everyone
can gain insights into the other’s role and so together, create an
optimal solution.

41. Challenge in circular development
It’s a challenge for the textile world, within its existing
structures, to work together with creative professionals to
find solutions for the (further) development of materials.
Role of the creative professional
Address the challenges within existing chains, even if a
material is not yet good enough. That’s exactly when creative
input is needed: to develop realistic solutions and examples,
and factor in upscaling, even in cases where it may appear
more attractive to find or create a completely different chain.

44. Challenge in circular development
We need to look further than purely the technical side of how
companies design circular products, a more market-driven
approach. Looking at what consumers demand and need.
How can we, with these circular products, make a unique
contribution, something that consumers don’t get from
regular products? In this way, circular products and services
will be seen to add value and will be more quickly accepted
by consumers.

45. Role of the creative professional
Firstly, to position the consumer’s role more prominently: the
consumer needs to be given a prominent position when new
products and services are being developed. In addition,
creative professionals can also contribute to creating added
value. This requires a new way of looking at products; that’s
what creative professionals can do - like no other. In order to
take on this role, they must be aware that a great deal more
is expected from their ‘new’ products; the old way of doing
things is no longer acceptable.

48. Challenge in circular development
Being able to incorporate uncertanties within your design
process: using second-hand materials in architecture means
you won’t always know what materials and products you will
have at hand when it comes to realization.
Role of the creative professional
Architects need to be able to convince their clients of the
benefits of circularity. Therefore they have to deepen their
financial / business knowledge to fulfil their (circular)
advisory role on their clients behalf.