Design Process and Sustainability. Method and Tools

: The sustainable design approach has so far partcularly referred to methods and tools of an analytcal nature, such as Life Cycle Design and Life Cycle Assessment; these are characterized by the direct focus on product and/or service and defned by prevalence of a convergent thought. The project has to deal, by its nature, with complex issues defned as wicked problems that cannot be circumscribed and then linearly resolved; the design act is indeed characterized by being a complex dynamic and not defnable in a ratonal way. The paper identfes methods and tools applied to the POR CreO-FP7 “High Chest” project developed with Whirlpool Europe S.r.l. The design process applied has been then re-created highlightng methods, tools and their areas of relaton, which, in Complexity theory, are defned as edge of chaos: these are the areas where the diferent theories and disciplines do not repel but atract, changing from order to disorder, which consequently leads to organizaton through interrelatonships.


Introduction
The limitatons of the current development model (Meadows D.H. et al., 2004) indicate that it is not possible to carry on any design actvity without setng it on a level with all the relatons that the product will have with the environment and the cultural, social, economic, productve and technological aspects. Maldonado T. (1991) had previously stated that the design task is designing the shape of products by coordinatng, integratng and structuring an extremely heterogeneous number of factors (functonal, symbolic, cultural, techno-economic, techno-constructve, technosystemic , techno-productve, techno-distributve). The approach to complexity is grounded in the theories on the project proposed by Simon H.A. (1969Simon H.A. ( ed. 1988, who sustained the applicaton of a limited ratonality in the design feld, and Schön D.A. (1983), which considered the project as a refectve practce, thus defning the epistemology of practce theory (Bertola P. et al., 2004). The design project has to deal with a complex system of extremely heterogeneous domains, therefore it cannot be resolved through reductonism and linear approaches. Simon H.A. (1969Simon H.A. ( ed. 1988) had previously revealed that in the real world design procedures should not be limited to assembling the solutons of the individual components, but should seek the appropriate aggregaton of the components by applying the concept of "placing eggs in diferent baskets". Design has ofen to deal with what are termed "wicked problems" (Buchanan, 1992) characterized by a no defnitve formulaton; no stopping rules; neither true nor false solutons (only good or bad); not being solved by an exhaustve list of eligible operatons; having more solutons; bringing afer their resoluton another problem at the highest level; not having a fnal verifcaton; being unique; not reproducible solutons. This is why by applying too specifc tools there is a risk of having a restricted view of the design problem and therefore of applying a soluton that is strictly limited to the redesign of a product. Sustainability-oriented design mostly develops for environment-related issues and more specifcally toward the product intended as a tangible object. With the associaton of the words 'Design' and 'Sustainability' frequent reference was made to the re-design of a product, by applying a design approach based on a change of material and without afectng functonality and meaning. By that, in some instances, it had been assumed that certain analytcal methods and tools, such as Life Cycle Design (Vezzoli C. and E. Manzini, 2007 p. 66) or Life Cycle Assessment (Baldo G.L. et al., 2008 p. 61), could be tools for guidance for designing sustainable products. This is not to mean that these tools are not important, but that this kind of approach has led to tag all products made of sustainable materials with an eco-design label. Basically, the tendency has been that of "adjectfying" design coming to an incorrect interpretaton of what is the design and that of which should deal. Lawson B. (1980Lawson B. ( ed. 2005 too points out that the word "design" is the frst problem, ofen used as an adjectve rather than a noun and should be used as a design process and a way of thinking instead. Tools that are too specifc lead to consider only certain factors at design stage, leaving aside many other perhaps even more important. Proof of this are energy labels applied to household appliances, which communicate the energy class of the product through symbols an leters. If it is true that a refrigerator with A+++ energy label is more efcient in terms of energy consumpton to a lower energy class refrigerator, it is just as true that the use and management of a double-door A+++ refrigerator has a larger impact than a simple single-door A+ model. As highlighted by the European Commission consumers are nowadays inclined to buy larger products (European Commission, 2015) that belong to a higher energy class but have higher consumpton. Issues related to sustainability do not only concern energy consumpton and we can not approach the design of a product working on a single aspect. If our model of consumpton leads us to buy a larger model of refrigerator to accumulate food, due to the litle tme available because of an overly long working tme or to own that product in order to belong to a specifc social status, it is clear that the issues are also of social and cultural order. For a real sustainability revoluton a cultural change is required (Ehrenfeld J., 2008); the contemporary scenario leads us to face a number of challenges regarding the imbalance of various interactng systems: energy, climate, food, money, culture (Thackara J., 2005). In a world of limited resources, it becomes necessary conceiving and approaching to a diferent kind of growth (Capra F. et al., 2014) which is not only economic, material and quanttatve; the goal is to understand the qualites of the complex system we live in, not as a mere sum of its parts but as a complex interrelatonships system, where qualites derive from relatonships and interrelatonships among the components of the system itself (Capra F., 2013). In this context, it is not possible to separately face design issues; that is why a more complex interdisciplinary and transdisciplinary approach is needed. Complexity, as argued by Morin E. (1985, p. 57), is solved with a mult-dimensional and dialogic thinking. Therefore also in the design feld, where the necessity is to connect diferent domains of knowledge, a divergent approach is needed, thus avoiding the fragmentaton of the single problem. In the project area, the quanttatve and analytcal approach by which to now has been addressed sustainability issue, opens out to assessments and approaches of a qualitatve nature that beter address the design hypotheses towards overall and future scenarios (Tamborrini P., in Vezzoli C. 2007), thus expanding the horizon of the project to lifestyles and life quality. More generally, this way of looking at sustainable design complexifes the act of design and bringing the designer to be a strategist in the identfcaton of new relatonships between all partes; it is then defned the strategic design for environmental sustainability concept (Manzini E. et al., 2001) (Vezzoli C. et al., 2007). The Strategic Design for Environmental Sustainability moves the competences from product design to the design of an integrated product and service system that meet the specifc needs of the customer, atemptng to reorient the producton and the consumpton in a sustainable perspectve. Within the disciplinary framework, with Product Service System (Ceschin F., 2012) (Vezzoli C. et al., 2014) and Design System (Bistagnino L., 2008), the design issues about sustainability have then moved from an atenton over mater -that is the object of environmental damage -to an atenton to the shape -meant as the layout drawing of the system. The tension between form and mater: "[...] is a tension that lies between two diferent approaches in a way to understand the nature [...] The study of mater originates with the queston: 'What is it made of?'. It leads to the concepts of fundamental elements, building blocks; to the measurement and the quantfcaton. The study of the form asks: 'What is the patern?'. And that leads instead to the concepts of order, organizaton, relatonship" (Capra F., in Bistagnino L., 2012, p. 207)*. *Translated by the author.
Conceiving the project becomes essental in design area, by considering all the interrelatonships that a product, a service or system generates with the environment and social, cultural and technological aspects. The transiton from the focus on the product in the physical object horizon, according to Findeli A. (2001), leads to the "disappearance" of the object as the center of the project, focusing the design process on all the system partes, therefore going to cancel the concept of "commodity fetshism" and consequently bringing the design act to a more ethical approach. The complexity facing a design project must be approached in order not to allow the analysis to become the dominant or exclusive ratonal thinking process (Nelson H.G., Stolterman E., 2003); therefore it becomes necessary a redefniton of methods and tools, and more broadly of the approaches used in the sustainability oriented design. The concept of design practce regains value in this sense too, by expanding concepts and capabilites belonging to design as the system thinking (Zurlo, 2014), that is the ability of design to act strategically in the complex system of systems.

Which methods and tools?
When talking about sustainability-oriented design, it is quite consolidated the fact that designers can play an important role especially in the early stages of design (Lofhouse V., 2004 and2006) (Vezzoli C., E. Manzini, 2007) where the 80% of impacts has been determined (Thackara, 2005). As evidenced by several authors (V. Lofhouse, 2004) (T. Martla, Kohtala C., in Vezzoli C. et al. 2014, p. 451) it is not quite clear which tools and design approach should be taken into consideraton. In the above context, the whole design fow and the related methods and tools acquire relevance, from the most specifc tools as LCD and LCA to those of a general nature specifc to the design practce. To foster a divergent process, which is specifc to the design practce, it is necessary to ensure that the methods and tools used during the design fow are extremely heterogeneous and at the same tme geared to produce the same result by sharing objectves, practces and skills. Traditonal tools such as Life Cycle Design are qualitatve, but stll directed to the material aspects; Life Cycle Assessment has a quanttatve and engineering matrix, but is of litle use to the practce of a designer (Vezzoli C., E. Manzini, 2007) and restrictve with regard to the innovatve potental of a project (D. Millet et al, 2005). Both tools are too restricted in front of the complex issues related to sustainability and to the nature of the project itself.
It is of interest investgatng how methods and tools of diferent nature encourage the project fertlizaton in connecton to the same design fow, in order to identfy possible areas of relatonship and then detect new methods and tools. For example, the Design Thinking formalized by IDEO (2015) through a number of methods and tools, and drawing its roots by thoughts concerning the methodologies related to the design to Simon H.A. (1969Simon H.A. ( , ed. 1988), D. A. Schön (1983) and Buchanan (1992), has been identfed as a promising process to address the challenges about sustainability (Young G., 2010) (Fischer M., 2015) and meet the challenges of innovaton for complex systems (Johansson-Sköldberg U. et al., 2013). The paper investgates, through the practcal applicaton in a research project, about how some heterogeneous (quanttatve, qualitatve and practcal) methods and tools encourage the project fertlizaton. More specifcally, design methods and tools specifc to Environmental Sustainability (LCD and LCA), the Design Thinking (brainstorming, moodboard, workshops), Ergonomics and the User-Centred Design have been applied, besides the traditonal design tools (from design sketches to 2D and 3D rendering sofwares).

Paper sectons
The paper is divided in three sectons: 1. In the frst secton (2. Methods and Tools applied in High Chest project) the methods and tools used in the diferent project stages are reported in detail; 2. The second secton (3. Main Results) highlights the main results provided by methods and tools applied; in the second part of this secton, used methods and tools are positoned in the design fow and are divided into four macro categories, thus going to understand at which stage in the project they have contributed to its fertlizaton; 3. The last secton (4. Discussion) carries out a discussion concerning relatonships arising between the diferent methods and tools throughout the design process.

Methods and Tools applied in High Chest project
The aim of the POR CreO-FP7 "High Chest" project developed with Whirlpool Europe S.r.l. was to design a new family of chest freezers that would be innovatve in terms of environmental sustainability, energy efciency and the promoton of eco-efcient behaviours guided by good design. The DIDA* Department research group -University of Florence -has been working on three levels: A. sustainability: expert assessment according to the principles of Life Cycle Design, Life Cycle Assessment of the existng product and of the innovatve concept product (comparatve analysis); B. ergonomics: expert evaluaton and users testng moving from the theoretcal and methodological bases of User-Centered Design (UCD); C. product design and interface: with a partcular focus on shape innovaton and on usability in terms of fuel savings and reducton of waste related to food.
Workshops with students have been held during the research project under the coordinaton of researchers and some tools of Design Thinking (IDEO, 2015), as brainstorming and moodboards, have been applied.

Project phases: Methods and Tools
The project can be divided into four macro phases.

FIRST PHASE
In the frst phase expert evaluatons have been conducted in relaton to the existng freezer manufactured by Whirlpool. A a visit to the company has preceded the expert assessments; it has allowed the group to identfy the existng freezer model to conduct analyzes and assessments.
From the ergonomics point of view critcal issues have been identfed through direct observaton and following Task Analysis (G. Lot, Tosi F., Brischeto A., I. Bruni, 2015) at the LEU/Laboratory of Ergonomy and Usability (DIDALABS, Department of Architecture, University of Florence, Italy). In terms of environmental sustainability, with reference to the BOM of the product, an analysis of the critcal issues relatng to materials applied through the use of Matrec database used at the LDS/Laboratory of Design for Sustainability (DIDALABS, Department of Architecture, University of Florence, Italy) was conducted. As it regards the technological and formal innovaton a benchmark analysis has been carried out to investgate the compettors also in similar sectors. SECOND PHASE In the second phase, for the aspects linked to usability and ergonomics, sessions have been conducted by providing the involvement of users with diferent anthropometric features, approximately belonging to the 5th, 50th and 95th percentles.
"The sessions were atended by a total of 11 persons, 6 men and 5 women aged between 35 and 75 years. The sessions were held in the company premises, in an area in which the typical domestc conditons of use of the chest freezer were recreated. The users were involved in the experimentaton of a hybrid method of investgaton, simultaneously developing Contextual Inquiry, Observaton and Thinking Aloud and following a heuristc approach. This approach made it possible to collect opinions, thoughts, expectatons, critcalites and intuitons useful for the defniton of the requisites of the design concept" (Lot G., Tosi F., Brischeto A., Bruni I., 2015).
As it regards environmental sustainability it was rather conducted a simplifed LCA relatng to the previous Whirlpool freezer model, with partcular atenton to the phases of preproducton, product manufacturing and packaging. The analysis was conducted through a simplifed tool provided by Matrec Ltd. and supplied by LDS. The analysis has led to a result in terms of environmental impact of the existng product that has later allowed the identfcaton of some interventon areas for the design of the new High Chest product. THIRD PHASE The third phase included a workshop coordinated by the whole research group; 15 students of the Course Master's Degree in Design -Department of Architecture, University of Florence -have been involved. The workshop took 5 days of intensive work in order to generate product concepts based on the analyzes carried out previously. During the workshop methods and tools of a diferent nature were used: from brainstorming to the moodboard to get to the material DB always having as a reference the principles of Life Cycle Design. At the end of the workshop three projects have been selected, and the students/designers have subsequently worked with the research team to synthesize the fnal design. STEP FOUR The fourth and fnal phase involved the design synthesis of the three selected concepts, both as regards the product and the functonal and graphic aspect relatng to the interface. Tools of 2D and 3D design sofware (Illustrator, Rhinoceros, 3DSmax) have been used . A simplifed LCA was also conducted in the last stage, performed with the same approach of the aforementoned LCA, in order to compare the impacts of the old model with the new High Chest design concept (Figure 1). Finally, a manual of the project has been drawn up and the new model of freezer has been presented, together with all the designs arising from the workshop, during a conference organized at the Design Campus in Calenzano (FI) -Department of Architecture, University of Florence -Italy.

Main Results
The methods and tools applied in the High Chest project belong to diferent scientfc disciplinary sectors and include diferent design approaches. All methods and tools used have at least contributed to the development of the project towards sustainability. The expert assessments related to ergonomics have been used for the defniton of a Task Analysis used as a design basis for students during the workshop; the same applies to the environmental assessment carried out in the frst stage of the project and useful to identfy hypothetcal materials with reduced environmental impact and applicable in the new concept. The subsequent analysis performed using the UCD methods allowed to obtain informaton about the user-product interactons and defne the needs of users in relaton to the context of use (Lot G., Tosi F., Brischeto A., Bruni I., 2015). Analysis revealed that users perceive the low level of aesthetc and functonal innovaton in this type of product is ofen relegated to hidden areas of the home or even in garages and basements. The most signifcant problems emerged from tests with users concerned the handle, too small for a easy opening, the size of the product that do not facilitate the use by the users belonging from 5% to 50% percentle and the internal organizaton of the chest that does not facilitate the storage of food (Lot G., Tosi F., Brischeto A., Bruni I., 2015). In conclusion the design choices made for the new model's design involved a more easy accessibility to the product and the introducton of an interface to facilitate the management of food and reduce waste (Figures  2-3).
Figure 2. The picture shows the interface confgured for High Chest freezer. The interface is designed to guide the user through the flling operatons and withdrawal of the product. The interface also enables monitoring and management of the overall device status, the status of the stock zones, the status of food expiraton, It also suggests recipes with products which are expiring in order to minimize food waste. The interface leads to minimize the chest's openings with a decrease of cold leakage, thus favoring a reducton in consumpton. The interface technology was developed by the Insttute of Biorobotcs -Scuola Superiore Sant'Anna.
The simplifed Life Cycle Assessment conducted on the existng product has allowed the research to identfy the most impactul components in terms of KgCO2eq emissions and kWh consumpton. The external sheet, also being the major component, had the more impactul result but it was also difcult to replace because of the conductve capacity of the metal which facilitate a correct distributon of the cold. In the new model, it has been slightly reduced the thickness of this component, in order to decrease the weight and therefore the impacts. The analysis also allowed the assessment of alternatve materials with regard to the insulaton material, the main polymeric components and packaging materials. Polyurethane foams from renewable sources were evaluated for the insulatng material, while recycled PET for plastc materials and recycled EPS for packaging.
The workshop allowed students to experience some methods and tools related to the practce of Design Thinking (IDEO 2015) as brainstorming and mood boards and methods and tools related to Life Cycle Design.
Here it is shown the difculty of students into apply the principles of the LCD directly to an existng product without frst freely conceiving and designing products through closer methods closer to the design practce (sketching and personal refectons based on the analysis provided by the research team). The Life Cycle Design is more easily accepted by the students when used in parallel with the online Matrec DB 1 . In this phase traditonal methods and tools have been used, as sketches in the very frst stages of concepton and of 2D and 3D rendering sofware in the fnal representaton phase.
In the fnal design phase methods close to the design practce have been used to refne the formal and functonal aspects of the product. 3D modeling tools and rendering have been used in partcular.
To determine the technical aspects and the size was used a CAD sofware instead. In the fnal part of the project, the comparatve simplifed LCA on High Chest concept, has led to an impact reducton of approximately 12% in terms of Kg/Co2 eq emissions and the KWh consumpton for pre-producton and producton steps. The naming of macro-areas has been inspired by Zurlo F. concepts (Zurlo F., 2014) which are related to the designers' skills: "seeing", "pre-seeing" and "far-seeing". According to the author, the abilites related to "seeing" skills feed on the concept of zooming and allow designers to drif away and getng closer to problems; the abilites related to "pre-seeing" refer to a critcal antcipaton attude related to possible future scenarios; fnally the concept concerning "far-seeing" refers to the designer's ability to summarize through an image the meaning of a project. On account of this, the identfed categories (Visualizaton Methods and Tools and Thinking/ Seeing/ Predictng/ Methods and Tools) include practcal methods and tools belonging to the early design methodological defnitons, such as brainstorming (Jones J.C., 1970(Jones J.C., , ed. 1992; the other two categories (Quanttatvely Measuring Methods and Tools and Evaluate Qualitatvely Methods and Tools) include instead analytcal methods and tools of analytc and specifc nature about certain disciplinary areas. Subsequently, the methods and tools used have been included in a hypothetcal image related to the design process and shown by Newman D. (2008), called Design Squiggle (Figure 4), which does nothing more than refer to the concept of "macro-structure" proposed by Bonsiepe G. (1975Bonsiepe G. ( , ed. 1993.

Discussion
To face the challenges of sustainability in the broad sense it becomes necessary to make an act of design that have a signifcant efect on consumpton paterns and lifestyles. The paper points out that it is not possible to design through the use of too specifc tools such as the LCD and LCA; these should be interrelated with other typologies of approach taking into consideraton all the design process. The design process, especially in early stages, should allow a type of divergent thinking aimed to the identfcaton and possible resoluton of so-called Wicked Problem (Buchanan, 1992); as can be seen from the design fow, there is a broader applicaton of methods and tools in the very early stages of design, which are closer to the design practce than analytcal methods and tools. The methods and tools applied during the research project are extremely heterogeneous and belonging to diferent disciplines but stll all oriented and used to produce the same efect. The methods and tools divided into the four macro categories proposed in the previous paragraph, and placed in the graphic representaton of the design process, identfy potental areas of relatonship between heterogeneous tools. Then it can be assumed that each macro area of acton infuences the other in a contnuous exchange of interactons and knowledge and the design process therefore takes on highly complex shapes where the boundaries of individual areas do not divide the methods and tools but rather put them in relaton to each other by generatng some form of organizaton.
As recalled by E. Morin (1977) each boundary, as well as barrier is a place of exchange. In this way it can be defned the various areas that overlap like the points of Edge Efect (Thackara J., 2005), a concept closely linked to the theories of complexity and more specifcally to the theory of the edges of chaos or border areas.
"We are used to thinking to the order, and we are used to think of the disorder. But we are not used to think to the order and disorder together. [...] Natural systems are in a situaton of dynamic order, which is neither the immutable and statc order, nor the uncontrollable and potentally dangerous disorder of chaos"(De Toni A. F., 2013)*.
*Translated by the author.
Natural systems generate themselves in a contnuous exchange of relatonships among the various system components, keeping it in balance (Capra F. in Pisani F. 2007). By analogy, the areas represented on the design process ( Figure 4) allow individual tools to move in the limits of boundaries, therefore going to establish contacts with other methods and tools, creatng and re-creatng, thus the same fow of the project. The project, in the complexity of the systems and issues that it faces (environmental, social, cultural), is a dynamic thriving at the edge of chaos, in the connectons between the various disciplinary felds, in the dialogue between diferent instruments and the same partes involved in the project. It is a dynamic contnuously redefning untl the achieving of a balance. This balance, which in the design feld can be referred to the output of the fow and then at the end of the squiggle, however, generates a new beginning because the design in his refectve practce (D.A. Schön, 1983) feeds theory and vice versa in a contnuous exchange of knowledge.

Conclusion
The paper investgates how, through a practcal applicaton in a research project, some heterogeneous methods and tools (quanttatve, qualitatve, practcal) favor the project fertlizaton. The design originated by the High-Chest project shows that the results related to sustainability were not only achieved through the applicaton of analytcal methods and tools, but also with those closer to the design practce. The mapping of the design process ( Figure 4) shows hypothetcal connectons between heterogeneous methods and tools, in order to develop in the future methods and tools that connect diferent disciplinary areas and diferent design approaches, thus allowing to design in the complexity where the act of designing takes place.
researcher of Design at the DIDA (Department of Architecture), and collaborates with Laboratory of Design for Sustainability working on product design and product life cycle. Between 2012 and 2015 he took part in internatonal and natonal research projects that concerned: the design of an innovatve sofa with durable materials; the design of an innovatve camper characterized by lower emissions; the design of an innovatve freezer for users waste reducton; the innovatve product design for Ifrane Ali traditonal ceramic (Morocco). During the academic year 2015-2016 he was lecturer at the chair of Applicatons of Design I, University of Florence, Italy (DIDA). He holds a design agency in Florence working on product design and graphics.