循环经济—设计先行。在这一课中，我们将探讨设计在所扮演的重要角色。学习了解循环设计的四个原则，六大战略来设计更好的产品与服务。
Examine the role of design in creating a circular economy, the four stage circular design process and six strategies for designing circular products and services.
未来的设计职业会是怎样的？
在下面的视频中，IDEO的CEO，Tim Brown跟我们分享了他就循环设计革新的看法。
What does the future of the design profession look like?
In this video, Tim Brown, CEO of IDEO, shares his thoughts on the implications of circular design evolution.
设计领域下一个热点会是循环设计。设计是循环经济的第一大原则——“从设计之初避免浪费和污染”。而现实是，当今大部分的产品还是为线性经济所设计的。这就意味着，几乎所有的东西都需要按照循环经济的原则来重新设计。
The next big thing in design is circular. Design is key to the first principle of circular economy, “design out waste and pollution.” The reality is that most things today are still designed for the linear model. This means that almost everything needs to be redesigned in accordance with the principles of the circular economy.
Chris 是 IDEO 循环经济的投资总监，也是 IDEO 循环经济的领头人，他负责带领 IDEO 和其它机构进行系统变革、创新突破的工作。他向大家解释了，“以人为本”的设计和“目标导向性”设计如何助力实现循环经济。
Chris is circular economy portfolio director at IDEO, where he leads IDEO’s consultancy business in the circular economy and works with organisations on systems change and breakthrough innovation. He explains the power of human-centred design and purpose-driven decisions when it comes to designing for the circular economy.
不论是广告宣传的项目，还是品牌体验设计项目，Chris 一直对复杂的项目、机构或商业模式感兴趣，简言之，任何需要策略和创新的东西都吸引着他。根据他之前在市场营销和品牌策略方面的经验，Chris 作为一个自由职业者加入了 IDEO，并在后来成为了一名总监。也就是在 IDEO， Chris 第一次接触到循环经济，他称这是一个“偶然的相遇”， 因为据 Chris 自己说，他此前对环境问题一直持中立态度。Chris 在那之前从来没有听说过这个概念，所以 Chris 从事循环经济这件事完全是“随机的”。
From advertising to brand-experience design projects, Chris has always been fascinated by complex projects and organisational or business models: in short, anything that requires strategy and innovation. Based on his experience in marketing and brand strategy, Chris joined IDEO as a freelancer and subsequently became a director. It’s where he first came across the concept of circular economy – a fortuitous encounter, as Chris recalls that he has always been neutral towards environmental issues. Chris had never heard of the concept before, but that’s how it started, “with randomness.”
不久之后，IDEO 和艾伦·麦克阿瑟基金会之间就展开了合作关系，并且它们都认为设计是向循环经济转型的重要一环，反过来，循环经济可能会对设计造成根本性的影响。很快，它们描绘了一个共同的愿景和目标，并且对第一步行动达成了共识。在最后阶段，Chris 被邀请到了基金会在怀特岛的办公室。期间，Chris 也会见了创始人之一 Ken Webster，并且和他进行了谈话。
Soon after, a partnership was signed between IDEO and the Ellen MacArthur Foundation around the mutual belief that design is vital in the shift to a circular economy and that a circular economy would in turn be disruptive to design. A common vision and objective had been outlined quickly, and the concrete first steps needed to be agreed. For this final phase, Chris had been invited to the Foundation’s offices on the Isle of Wight. During his visit he attended by chance a talk by Ken Webster, Head of Innovation.
“Ken 谈到了设计循环经济的过程、教育系统、城市规划，谈到了语言、根植于线性经济的现代商业内含——具有严重的机械化、剥夺性的特征。把线性经济和循环经济当做两套截然不同的价值观和设计原则的观点是极具冲击力的。就好像是在电影黑客帝国那样，我用一种全然不同的意识看待世界。”带着这种全新的看待事物之间关联和系统性思考的思维和能力，Chris 踏上了循环经济的旅程。
“Ken talked about how the economy is designed, about the education system and how we design cities, about the language and the mindset of business today that is coming from the linear economy – very mechanistic and exploitative. This awareness of the linear economy as a set of values and design principles, and what the circular economy is in contrast, was really, really powerful. It was a Matrix-like moment where I became conscious in a new way.” With this new mindset and ability to see connections and think in systems, Chris went on a journey.
从那时开始，Chris 的很大一部分工作是致力于打造 IDEO 的循环经济商业，在经过初期的侦查后，他很快意识到，他采用的是一种更具有创业精神的做法。一年半后，IDEO 的工作重心在两个主要的领域。一个是围绕“循环指明灯”项目开展工作：也就是把循环经济创新这个概念当做机构在解决商业问题时的准则、框架和措施。在这个概念的指导下的 IDEO 项目成为了一种运用新方法去解决核心创新需求的方式。这可能包括，比如说，支持一个组织从售卖产品到提供服务转型。
From then on, a large part of Chris’s job was dedicated to building IDEO’s circular economy business and after an early phase of reconnaissance, he quickly acknowledged that he had to adopt a much more entrepreneurial approach. A year and half later, IDEO’s work now focuses on two major areas. The first is built around the idea of circular beacon projects: the notion of circular economy innovation as an exemplar for an organisation, a new framework and capability for solving a business issue. An IDEO project in this context becomes a way to practice a new capability and address the core innovation need. This might include, for example, supporting an organisation through its journey from selling a product to offering a service.
另一个被叫做 Co. Labs, 它把不同的机构、技术、设计原则相互联系起来，把创新产品推广到市场上。它希望能够引起大家对于循环经济重要性的共识，循环经济不仅是一种新规范，也如 Chris 所说的，“循环经济不仅设计了新的系统，它本身就代表着设计变革。”
The second strand is called Co.Labs, which aims at pushing innovation in the marketplace while fostering interactions between different organisations, technologies and design disciplines. The goal is to gain a general consensus on positioning circular economy as the new norm, or as Chris puts it, “design not just new systems, but actually the system of change itself.”
Thomas Leech 是一名对生活日用产品很感兴趣的设计师，他认为这些产品能够带动人们参与循环经济。Thomas 已经在设计行业工作了十多年，他对奢饰品时尚、商业产品和矿产开发都有着较高的天赋。然而，他真正感兴趣的方向是解决问题、以用户为中心的设计，而这份热情促使他重回校园，完成了在皇家艺术学院（RCA）的硕士学位。基于他在各个方面的尝试，Thomas 开始觉得在产品层面实现可持续性有些“太难做到”了。他的挫败感来自于整个过程是极其浪费的，并且在奢侈品时尚领域也是这样。这使他思考，他该如何解决这个没人乐意去解决的问题。
Thomas Leech is a designer passionate about the power of everyday products to get people engaged with the circular economy. Thomas has worked across the design industry for over a decade, taking his talents from luxury fashion to commercial white goods and mineral exploration. However, it was his passion for problem solving and user-centred design that saw him make the decision to head back into education and complete a Masters degree at the Royal College of Art (RCA). Across all his efforts in different fields Thomas began to feel that delivering sustainability in “product terms was “too hard to achieve”. His frustrations lay in what he saw as hugely wasteful processes, which he had also witnessed in the luxury fashion industry. This led him to ask some serious questions related to how he could change the processes that no one appeared interested in addressing.
后来 Thomas 听说了艾伦·麦克阿瑟基金会谈论是循环经济是如何推动企业、供应商、合作商的。这次的重构再次点燃了他的热情，他再次开始鼓励工厂去生产真的能够面向未来、高质量产品。2015年，这份热情帮助当时还在 RCA 学习的 Thomas 赢得了在Schmidt MacArthur 组织的一个位置。
Thomas had previously heard about how the Ellen MacArthur Foundation talks about the circular economy in a way that encourages collaboration across the entire business, and with suppliers and partners. This reframing rejuvenated his desire to encourage the industry to develop fundamentally better products for the future. With renewed enthusiasm, in 2015, while at the RCA, Thomas won a place on the Schmidt MacArthur fellowship.
作为曾在 Mulberry（奢侈皮革品牌）工作了两年半的 Thomas 很清楚这个行业有着严重的皮革浪费问题。Thomas 决定从自己的专业着手，探究时尚行业里废弃的皮革边角料是否可以作为童鞋的原材料加以利用。他提出了 Shoey Shoes 的概念，尝试用一个方法解决了在鞋子和皮革两个行业中无意识浪费的问题。Thomas 先是把循环设计思维运用到皮革行业，然后确定最终目标。他解释道：
Having spent two and half years working as a developer at Mulberry, the luxury leather brand, Thomas knew of their issues with leather waste, so approached his ex-employers. Thomas began by going back to his professional roots and explored how leather off-cuts from the fashion industry could be used to develop a range of children’s shoes. His first main intention was to reduce the amount of leather being sent to landfill in the production of the millions of pairs of children’s shoes a year. Shoey Shoes became an exploration of the unintended waste in both the shoe and leather industries, with the goal of seeking to solve two problems with a common solution. Thomas started by applying a circular design lens to the leather industry, and then pinpointing an end goal. He explained:
Thomas 放眼长远的思考导致了模块化童鞋的产生，这也许能催生一种新的服务模型。鞋子使用者租赁鞋子，鞋子生厂商仍然是这些珍贵皮革的所有者，同时负责确保皮革状态可用。Thomas 告诉我们，他并不是一个鞋子的设计者，他感兴趣的是鞋子的生产、供应链和鞋子使用者的穿着体验。根本上说，他的目标一直是引领资源使用方法系统性的变革，而不是制造更多的鞋子。
That end goal of effectiveness has resulted in a modular shoe, which creates an opportunity for a new service model. The wearer leases the shoes, while the manufacturer retains ownership of the valuable materials and takes responsibility for keeping them in use. Thomas told us that he is not a shoe designer and is interested instead in how they are made, their supply chain, and the experience of those who wear them. Fundamentally, his aim has always been to steer in the direction of a systemic approach to using resources, not to create more shoes.
毫无疑问的是，Thomas 坚持不懈的努力使得这个想法正悄然转变成一个成功的商业提议：这个提议将为制鞋业带来一种真正循环的、可再生的经济模式，并催生当前鞋产业模式的变革。
There is no doubt of Thomas’s unswerving commitment to quietly turning his initiative a successful business proposition: one that could eventually see the shoe industry being disrupted in ways that are truly reflective of a restorative and regenerative economy.