Sustainable Packaging Design

PLANES Carbon footprint

TRUCKS BOARD 3,839 tonnes packaging waste

Carbon footprint

GLASS 2,630 tonnes packaging waste

PLASTIC 2,185 tonnes packaging waste

PACKAGING DESIGN HOW CAN A RANGE OF CARDBOARD POSTING PACKAGES ALIGNED TO THE POST OFFICE RETAIL MARKET SUPPORT AN ETHICAL SUSTAINABLE MESSAGE AND PROMOTE CUSTOMER CONSCIOUSNESS ABOUT THEIR CARBON FOOTPRINT?

Amal Ebrahim - 14137268 DES7053 - Personal Project Research Birmingham City University MA Product Design

2

Personal Project Research Packaging Design How can a range of cardboard posting packages aligned to the Post Office retail market support an ethical sustainable message and promote customers consciousness about their carbon footprint?

Course Director Nuno Lourinho

CONTENTS

06

16

Chapter 00 - Report Introduction Introduction Research Structure Research Methods Design Agenda Hypothesis

Chapter 01 - Cardboard Packaging

Chapter 02 - Sustainable Policies

7 9 10 15 15

16-29

18 20 22 24 28 29

30-45

What sustainable policies can be devised when considering postal transportation of goods?

The Definition of “Sustainable Policies�

The Evolution of Packaging Material Waste Theorists in Sustainable Policies Precedents of Sustainable Products The Future of Sustainable Policies Key Findings

3

6-15

How can cardboard be used as a sustainable approach for postal packaging?

The Definition of Cardboard Postal Packaging The Evolution of Cardboard Postal Packaging Cardboard Postal Packaging Theorists Precedents for Cardboard Postal Packaging Cardboard Postal Packaging Future Key Findings

30

Figure 0.1 Arrow Cardboard Unites (Ebrahim, 2015).

32 34 36 40 44 45

46

60

Chapter 03 - Post Office Retail Market

Post Office Retail Market Standards Definition Postal Packaging Evolution Theorists of Post Office Retail Market Postal Packaging Precedents The Future of Post Office Packaging Key Findings

48 49 50 52 56 57

Research Reflection Research Conclusion

58 59

Chapter 04 - Design Concept

60-79

Product Design Concept Idea

Concept One: Re-Fold Concept Two: Re-Build Concept Three: Re-Nature

80

46-57

What are the standards and requirements for postage within the Post Office domestic retail market?

Chapter 05 - Design Proposal

62 68 74

80-85

Chosen Design Concept Hypothesis Design Principles Design Brief

82 83 84 85

References Bibliography Appendices

87 93 94

“No single package

is necessarily right or wrong, but one might be considerably more approprate than the other�

(Denison and Cawthray, 1999 P.10).

6 0

REPORT INTRODUCTION According to the National Packaging Waste Database (2014), cardboard is the most heavily wasted packaging material by a significant margin in 2013 with approximately 3.5 million tonnes wasted. This reinforces the status of paper and cardboard packaging as the most widely used packaging material in the UK. In addition, postal packaging is playing a huge part in package wastage as customers prime intention is the safe delivery of their goods not the volume of the package (Boylston, 2009). Therefore, cardboard as the most widely used packaging material has a magnificent opportunity to be explored and developed.

Moreover, from a personal perspective with an interest in regard to jigsaw puzzles and how things items are constructed, this project will study creative structures and playfulness. Accordingly, the project aims at encouraging users to be more creative, interactive and resourceful while challenging the limitations postal packaging system. In addition, it aims at supporting an ethical sustainable message through pushing the capacity of the packagings natural cycles to become significantly more ecologist by its material, function and structure in order to reduce packaging waste.

The report then examines and analyses the environmental impact of cardboard packaging production and current solutions for those issues, which leads to the report’s main question.

How can a range of cardboard postal packages aligned to the post office domestic retail market support an ethical sustainable message and promote customer consciousness about their carbon footprint?

Research Question

Chapter 1

Chapter 2

Chapter 3

Cardboard Packaging

Sustainable Policies

Post Office Retail Market

Key Findings

Key Findings

Key Findings

Research Conclusion

Concept 1

Concept 2

Concept 3

Re-Fold

Re-Build

Re-Nature

Final Concept Figure 0.2 Research Report Structure (Ebrahim, 2015).

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0.2 Research Structure The report is organised into two main sections, Re-Think first and then Re-Create. The Re-Think section encompasses three chapters which breakdown the main question into three sub-questions, chapter one discusses how cardboard can be used as a sustainable approach for postal packaging. Following on from this, chapter two explores the sustainable policies needed to be deduced when considering postal transportation of goods. Finally the standards and requirements for postage within the Post Office domestic retail market are investigated in chapter three.

The key findings from these sub-questions are concluded to define the Re-Create section that focus on developing new concepts and functional packaging design systems, evolving from the first concept to the final production of the product. Chapter four of the Re-Create section considers three different concepts analysis in order to come up with the final design concept and design brief. Figure 0.3 is a diagram showing the structure and time plan for this research.

Start

Submission Chapter 1 Chapter 2 Chapter 3 Graphics

Conclusion Concept 1 Concept 2 Design Brief

Concept 3

Introduction References

Figure 0.3 Personal Time Management Methodology (Ebrahim, 2015).

0.3 Research Methods Primary and secondary research methods The secondary research influenced the theory of the project through publicised books, market research reports, magazine articles and video lectures. However, there is a lack of data in the secondary analysis of how sustainable packages are involved and developed in the current Post Office retail market. Therefore, primary research was conducted to support the outcome of the research question.

The primary research was undertaken through direct observations of design galleries that involved participant observation and observational field notes. The research also took the form of informal interviews during the packaging exhibition at the National Exhibition Centre (NEC) in Birmingham, UK, as well as sending out structural interview e-mails (which received no responses). Additionally, to gain user experience as part of the primary research, a Post Office retail shop visit was undertaken and a package was sent through the postal system.

0.3.1 Primary Research Methods Participant Observation Visiting Design Museum in London and engaging with the cardboard building construction system designed by Torsten Sherwood (Fig 0.4).

Figure 0.4 [Left] Design Museum (Hayes, 2014).

Figure 0.5 [Right] Participating in Design Museum (Ebrahim, 2015).

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Informal Interviews Packaging Innovation Exhibition visit in the NEC Birmingham and giving informal interviews.

Figure 0.6 [Left] Envirolite Packaging Exhibition Stand (Envirolite.co.uk, 2015).

0.3.1 Primary Research Methods

Figure 0.7 [Right] Envirolite Packaging Exhibition Cardboard (Envirolite.co.uk, 2015).

User Experience Experementing the Post Office service with sending post cards and postal packages.

Figure 0.8 [Left] Royal Mail Post Pack (Ebrahim, 2015).

Figure 0.9 [Right] Three Post Cards (Ebrahim, 2015).

0.3.2 Secondary Research Methods Market Researcg Reports

Magazine Article

- Packaging (Paper & Board), 2014 - Toys & Games, 2014 - Green & Ethical Consumer, 2015

A smart, natural fibre article in International Innocation Magazine 2014.

Figure 0.10 [Left] Key Note Reports (Key Note, 2014).

Figure 0.11 [Right] A smart, natural fibre (International Innovation, 2014).

Online Documentary Key Note furturist speaker Patrick Dixon speaking about the future of paper and cardboard packaging

Figure 0.12 Keynote Packaging Future Confrence (Dixon, 2008)

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0.3.2 Secondary Research Methods Books Publications

Figure 0.13 [Top left]. Designing Sustainable Packaging (TerraSkin, 2005).

Figure 0.14 [Top middle]. Trash (Reisman, 2006).

Figure 0.15 [Top right]. Out Side The Box, Cardboard Design Now (Black dog, 2010).

Figure 0.16 [Bottom left]. Cradle to Cradle (Makewealthhistory, 2011).

Figure 0.17 [Bottom middle] Package Design Workbook (DuPuis Group, 2008).

Figure 0.18 [Bottom right] SustainAble (Sherin, 2008).

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0.3.3 Agenda This report aims at investigating the state of the art of the packaging production in the post office retail market and furthermore exploring its environmental impact. This forms the basis for understanding positive interactions between customers and packaging and deriving solutions for an improved behaviour towards sustainable packaging. Finally, it will be looked at the potential of powerful and playful options for the second life of packaging.

0.3.4 Hypothesis ‘Through a creative, innovative and interactive design, it is possible to promote an ethical sustainable message by utilizing cardboard postal packaging in a second life aspect in order to overcome the problematic issue of packaging waste whilst encouraging parents and children to engage in interactive activities’.

Figure 0.19 Playful Flatpack Furniture Folds Like Origami (Zhang and Thonsgaard, 2013).

Re-Think How can cardboard be used as a sustainable approach for postal packaging?

Figure 1.1 StockBox Corrugated Cartons (Fencorpackaging, 2013).

CHAPTER ONE 1.1 Definition What is Cardboard Postal Packaging?

Focus

1.2 Evolution The Evolution of Cardboard Packaging

Cardboard strengths and weaknesses as a material when used for packaging.

1.3 Theorist 1.3.1 Cardboard Packaging Industry 1.3.2 Teresa Forrester

1.4 Precedents 1.4.1 Noook The Construction Toy 1.4.2 Universal Packaging System 1.5 Future Cardboard Packaging Future 1.6 Key Findings

1.1 Definition What is Cardboard Postal Packaging?

1.1.1 Cardboard Cardboard is a relatively modern material developed in China as early as the second century AD. It is a durable, economical and lightweight material that is made from the pulp of fast-growing pine trees (Czerwinski and Perez, 2010). It includes all types of heavy-duty paper with various strengths and also ranges from a simple arrangement of a single thick sheet of paper like card stock and paperboard, to complex configurations that feature the multiple corrugated layers (fig 1.2). Those come in different sizes, thicknesses and are easy to fold and store (Fibrebox.org, 2014). Supported by Sherin (2008), beside cardboard’s durability and lightweight, it is also versatile, sustainable, environmentally responsible, customizable, protective, graphically appealing and cost-effective.

1.1.2 Packaging According to Boylston (2009), packaging is the containing device or the wrapping material around a consumer item to promote and make the product marketable by demonstrating its attribute. In addition, it helps in containing, protecting, transporting and delivering the product.

The traditional use of packaging has mostly been of a single purpose and once it performed its function, which is delivering the product safely, it becomes rubbish. Thus causing significant environmental impact.

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Figure 1.2 (From left to right) Single face, single wall and triple wall corrugated (Fiberbox, 2014).

1.1.3 Cardboard Postal Package Czerwinski and Perez (2010) emphasised that the corrugated cardboard that was patented by the two English inventors, Healey and Allen in 1856, have recently been adopted and used primarily in the packaging industry. Further to this, when the cardboard packaging is used for the product to be carried, sent, shipped and/ or delivered by post it is called parcel or cardboard postal package (Stevenson, 2010).

Figure 1.3 DHL Augmented Reality (Augmented Reality Trends, 2015).

Chapter 1

1.2 Evolution The Evolution of Cardboard Packaging

DuPuis and Silvia (2009) in the Package Design Workbook described how packages have existed naturally as far back as millions of years ago. Those natural examples have been adopted by the humankind and developed to the invention of modern packaging. After the Chinese invention of cardboard, Sir Malcom Thorhill (1817) produced the first cardboard box to be used to transport goods. However, new innovations in materials and manufacturing are being developed later on to expand the functionality as technology is becoming more prevalent in the marketplace. Therefore, other packaging material has been used like glass, iron and plastic. This is in response to changing consumer needs and lifestyles.

In the last decade, designers, manufacturers and customer have provided valuable insights and feedback into the importance of earthfriendly, recycle and reused packaging. This focus shifted packaging to use the most environmental material, which is papers and cardboard (Dupuid and Silvia, 2009).

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Cardboard Packaging Evolution

1st & 2nd Century B.C Chinese used sheets of treated mulberry bark to wrap food. They also developed and refined the techniques of paper making.

1310 Paper making was introduced to England.

1817 The first paperboard carton was produced in England by Sir Malcom Thorhill.

1840s

18501870

Commercial paper bags were first manufactured in Bristol, England.

1870s

Corrugated cardboard appeared and the process of delivering cellulose fibre from wood pulp was developed.

Robert Gair found the semi-flexible packaging by accident.

1910

2000

Shipping packages of corrugated cardboard began to replace self-made wooden boxes used for trade.

Cardboard packaged was used all around the world for most products in response to more sustainability awareness.

Chapter 1

1.3 Theorists 1.3.1 Cardboard Packaging Industry

Robert Hucker Market researcher working as aditor for Key Note that provide range of market reports across every major industry.

Figure 1.4 Key Note Logo (Key Note, n.d.).

According to Key Note market, Hucker (2014) research about paper and cardboard packaging and how it is the most widely used form of packaging in the UK. Compared to other packaging materials, the strengths of cardboard are lightweight, flexibility and easily printed on as well as, that it is the most recyclable material.

However, there is also a variety of current issues threatening the paper and board packaging market as mentioned in his research.

The first and biggest problem is the ongoing development of innovative plastic packaging solutions. Second, is that both global woodpulp prices and domestic energy prices are becoming extremely high therefore threatening the survival of smaller firms (Hucker, 2014).

On the other hand, Hucker (2014) mentioned the growing of retail-ready packaging and how some commissions are aiming to discourage the use of plastic bags to save the environment, which gives the paper packaging industry a great opportunity to rise.

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1.3.2 Teresa Forrester, Twist Designer

Teresa Forrester The designer of a sponge packaging for Twist company that can be transferred into birdfeeder.

Figure 1.5 Birdfeeder Packaging (Designing Sustainable Packaging, 2009)

Terresa Forrester addressed that when designing a packaging for a product, it is important for it to provide as much cultural and social sustainability as environmental sustainability (Boylston, 2009).

With her packaging design ‘Twist’ that can be transferred into a birdfeeder (fig 1.5), Forrester believes that designers have amazing opportunities to change the way companies view their packaging systems, not by changing client’s mentality, but about better understanding the end goal of particular product. Then it is the packaging designer duty to be able to take that information and produce a better, more ecological solution than what currently existed in the market.

Chapter 1

1.4 Precedents 1.4.1 Noook The Construction Toy, 2014

Torsten Sherwood A designer based in London created a den-building construction system for children from his experience in both Architecture and Product design.

Figure 1.6 Torsten Sherwood, Noook Designer (Garcia, 2014).

“Cardboard is light enough to pick up and strong enough to build with” (Sherwood, 2014).

Inspired from LEGO bricks toy, Sherwood designed a single unit made from cheap, easily replaceable cardboard called Noook.

Those components create overlapping formations that can form unique structures encourages the user to be more experimental and imaginative (Dezeen, 2014).

With his admiration for the simplicity of LEGO bricks that can reach unlimited possibilities, Sherwood designed components that don’t tessellate but overlap (fig 1.8). Those components form an infinite number of possibilities with a material that has to be light enough to pick up and strong enough to build with. Thus, Sherwood (2014) showed that a good quality durable cardboard needs both aspects (See Appendix A).

Figure 1.7 Noook DoubleFaced Disk (Hayes, 2014).

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Analysis Usability & Function Noook, a double-faced disk with a narrow joins in the middle. The two faces are glued together leaving the edges free of glue to provide the ability for pieces to overlap by sliding them inside each other (Improvised Life, 2014).

According to Braeuner (n.d.) children can easily destroy their toys by using them incorrectly.

Therefore, Noook was purposely designed as a children toy that can be easily separated and recycled when children ruins or get boared of them.

Structure The narrow join in the middle of the disk helps to fold the disk in half to create the edges (fig 1.7), producing surfaces and corners together that devise infinite possibilities for the structure. The stability of the product highly depends on the way users structure it. Therefore, Noook is structural and encourages engagement through logical thinking and creativity (fig 1.8).

Aesthetics Noook is made of heavy-duty cardboard with a very smooth surface painted in multiple tones of orange. Although the material used to create the disk is a heavy-duty cardboard, the probability of damage is very high. However, the designer turned this disadvantage of the material to be embraced as a feature to encourage creativity by reusing and recycling.

Figure 1.8 [Right] Noook Structure (Hayes, 2014).

Chapter 1

1.4 Precedents 1.4.2 Universal Packaging System (UPACKS) 2008

Patrick Sung Patrick Sung with a degree of Industerial Design, designed a new concept of packaging for mailing and shipping that forms into any shape.

“Finding creative solutions that improve the quality of the environment, while improving the quality of life through good design” (Sung, 2010).

According to Czerwinski (2010), Patrick Sung designed a packaging concept that helped with the problem of finding the most accurate packaging size for shipping items. The Universal Packaging System’s (UPACKS) concept has triangulated perforations on a flat sheet on recyclable cardboard that allow the sheet to bend around odd forms, conforming to the shape of any object. Stewart (2014) addressed in her article that this product is conceptual design and might not be the most practical for all applications.

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Figure 1.9 The Universal Packaging System (inhabitat.com, 2014).

Analysis Universal Packaging System Analysis

Usability & Function The flat corrugated cardboard sheet used for this product is environmentally friendly due to the recyclable nature of it. It also user friendly as such perforations allow the sheet to be folded in any locations as much as needed allowing shape and size flexibility to fit any object (fig 1.10).

Figure 1.10 UPACKS Flat Cardboard Sheet. (Outside the Box, 2010)

Moreover, the edged created when folding the cardboard sheet, might not be perfectly joint which might need to be glued at the end.

Structure

Figure 1.11 UPACKS Folding System. (Ebrahim, 2015)

The foldable UPACKS cardboard sheet allows full package adoption and protection to the transported item. Therefore, the structure of the product is dependently changing from being easily stack as it helps saving a huge amount of wasteful space. However, there is an inconsistency with this argument, which is the impractically when considering the odd forms that creates which makes storing more difficult as well as weak protection (fig 1.9).

Aesthetics UPACKS comes with the original raw brown colour of cardboard with a smooth finishing. In addition, the perforated lines on the surface give the package an interesting graphic pattern design (Stewart, 2014).

Combined with its smoothens texture, UPACKS considered as tactile, amorphic, aesthetically pleasing to the eye and engaging packaging design.

Figure 1.12 UPACKS Standard Boxes. (Outside the Box, 2010)

Chapter 1

1.5 Future The Future of Cardboard Packaging

Prof. Patrick Dixon Patrick Dixon is an author and Business Consultant and is often described as a futurist, and works as a keynote speaker.

Figure 1.13 Patrick Dixon.

(Duchess France, 2014)

“Cardboard is here to stay, it is driving part of our sustainable future” (Dixon, 2008).

In his video lecture about the future of manufacturing, Dixon (2008) talked about the future of the paper packaging industry. Based on his research it is believed that, around 300 k.gs of paper are used per person, per year in the US and this can have a huge impact on the environment. However, technology cannot replace the industry of paper because people have emotional attachments to it and that is why, he feels, books will never stop being produced. This poses a huge impact on the consumption of cardboard as a mass-produced material.

Moreover, cardboard has the potential of being 100% recycled and with the current extraordinary growth in consciousness about the environment and sustainable industries, people, designers and manufacturers will continue to produce desired products with 100% recycled materials. This will lead to a greater potential for the wood industry to move from being simply a supplier of paper to a main economical industrial power. “People will keep doing it because they believe in the future which is a sustainable one and worth living in” (Dixon, 2008).

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1.6 Key Findings

Figure 1.14 Wooden Textile.

(Studio Been, 2014)

To sum up, cardboard has the qualities of being light and strong enough to pick it up and build with it as well as being flexible, engaging and easy to print upon.

In addition, due to its positive environmental image in comparison to plastic, the paper and board industry has become more prominent.

It can also help to improve and protect the environment.

Cardboard is now becoming the most used and a key material in terms of packaging and now plays a major role in sustainable design and the integration of creative packaging solutions.

Cardboard has now become one of the key materials in the market to be mass-produced.

Chapter 1

Re-Think What sustainable policies can be devised when considering postal transportation of goods?

Figure 2.1 Sustainability (agrifoodgateway, 2014)

CHAPTER TWO 2.1 Definition “Sustainable Policies� in relation to postal transportation of good?

2.4 Precedents 2.4.1 Cavallum, the wine lamp 2.4.2 PostCarden

Focus

2.2 Evolution The evolution of sustainable Packaging

2.5 Future The future of cardboard packaging

Sustainability and sustainable policies in packages and how they define its design.

2.3 Theorist 2.3.1 Sustainable products guidelines.

2.3.2 The Ecodesign Strategy Wheel

2.6 Key Findings

2.1 Definition What is “Sustainable Policies” Relevent to Postal Transportation of Good?

The definition of sustainable packaging is a term that is difficult to define due to its many influences such as materials, transportation considerations and sourcing in addition to time and location (See appendix B). McDonough and Braungart (2002) define it as “a system that encourages economic prosperity and a sustainable flow of materials utilising renewable resources within a programme, benefiting the people/region from where the resources/manufacturing come from, and a responsible approach to waste both in volume and nature”.

On the other hand, GreenBlue Project (2011) listed the criteria for sustainable packaging policies that are the guidelines and regulations that classify if a product is sustainable. They define responsible product design as effective when beneficial and safe throughout its life cycle, meets market criteria for performance and cost, transportation and products have used renewable energy and recycled efficiently.

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SUSTAINABLE POLICIES GUIDELINE

Create Social and Economical Value

Embrace Transparency

Ensure Material Health Design for The Life Cycle

Effectively Recover and Utilize Optimise Renewable Energy

Source Responsibly

Figure 2.2 Sustainable Policies Guideline (Ebrahim, 2015)

Clean Production Technologies

Chapter 2

2.2 Evolution 2.2.1 Evolution of Sustainable Packaging

As the world population continues to rise, so does the importance of sustainability. The evolution of sustainability started with the English industrial revolution, which prompted philosophers to speak against the damage that had resulted from a failure to protect the natural world due to intense mass production. The first national government response occurred with the first ‘Earth Day’ in 1970.

Sustainability consciousness started to grow in popularity covering issues such as the recycling, reuse and reduction of waste. In response to this, Figure 2.4 reveals that there has been a gradual drop in aluminium cans weight, which lead to a positive development and material reduction of packaging from a sustainable standpoint.

Based on the Global Aluminium Recycling (2009), in 1959 when Coors introduced the first aluminium seamless cans it was with approximately 22g. Then the aluminium cans weight reduced to an average of 40% of its original weight by 2013, which was around 13.3g (Costa, 2015).

This created a huge positive impact on the environment in terms of waste consumption, disposal and the recycling of aluminium.

22.0 18.7 -40%

15.4 13.7

13.5

13.3

Figure 2.3 CocaCola Can (Coca-Cola Company, 2014).

Figure 2.4 Average weight of Aluminium cans development (Costa, 2013).

1970

1980

1990

2000

2010

Avarage Can Weight (U.S.) grams

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2013

The more people rely on cardboard as sustainable material for packaging, the more environmental impact generate.

Wood

11.4%

Cardboard 35.8%

Aluminium

9.6%

Aluminium

Wood

Aluminium

Wood

6.9%

7.4%

7.8%

9.5%

Plastic 10.7%

Plastic 20%

Cardboard

35%

23%

Plastic Glass 25%

51.5%

Cardboard 25%

Glass 24.4%

Glass

2007

2010

Volume of Packaging Waste (UK)

2013 Figure 2.5 Volume of Packaging Waste Generated in UK (Ebrahim, 2015)

However, replacing plastic packaging to paper and cardboard that is considered as the most sustainable material but did not give the positive impact as expected based on Hucker’s (2014) market research. The National Packaging Waste Database (2014) shows a very high percentage of cardboard packaging that is wasted compared to plastic, glass and aluminium from 2007 to 2014 (See fig. 2.5).

Over the last two decades, large-scale industries started to replace the native trees with exotic fast-growing trees (Overbeek, 2012). This was made to maintain the growth and destined for industrial processes to produce paper. Through such plantations, more impacts and conflicts have arisen. The World Rainforest Movement studies (2010) show that the average water use [per day per tree] may range from 100 to 1000 liters. The fast-growing trees can use twice the amount of that water causing harsher environmental impacts such as dry soil through not enough water hydration. Therefore, relying on paper for its recyclability is not as sustainable due to the environmental impacts.

Figure 2.6 Industrial Tree Plantation.

(Overbeek, 2010)

Chapter 2

2.3 Theorists 2.3.1 Guidelines For Sustainable Paper Products

Pooja Mishra An Indian researcher for the Green Overdose organization with a mission of making the world an inch more greener.

Figure 2.7 Green Overdose Logo (Green Overdose, n.d.)

Mishra (2014) highlighted that due to the fact customers get attracted to product’s packaging this has created a situation where companies started to mass produce package design that appeal to customers. This has led to increasing the total packaging waste per year and such ineffectiveness is creating an adverse impact on the environment. Mishra addressed a potential solution to packaging waste is through the 3R’s hierarchy. This system of classification includes Reduce, Reuse and Recycle.

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Figure 2.8 Plastic Bottles Waste (Evergreen, 2010)

The 3R’s Hierarchy Reduce, Reuse and Recycle.

Reduce Minimal Packaging This method focuses on reducing the material, number of layers and the amount of toxicity when designing the package for a product. This method is also called “Lightweighting”, which is reducing the volume and weight of the material used in packaging to reduce the transportation cost.

Reuse Reusable Packaging This method emphasis that package design should be convenient in such a way that it can be reusable, refillable, and returnable to the greatest extent possible.

Recycle Recycle Packaging The Recycle method is the recovery of waste materials as it involves reprocessing the materials into new products.

An example of this in practice is Hindustan Unilever’s Go Recycle campaign (Mishra, 2014) where consumers were offered discounts in exchange for returning plastic bottles and pouches to stores. As a result of this indirectly customers embraced sustainable activities.

Chapter 2

2.3 Theorists 2.3.2 The EcoDesign Strategy Wheel

Brezet & Van Hemel An Indian researcher for the Green Overdose organization with a mission of making the world an inch more greener.

Figure 2.9 [Left] Carolien Van Hemel (USI, n.d.).

Figure 2.10 [Right] Prof. Han Brezet (Delft University, n.d.).

In their comprehensive analysis of the Eco Design Strategy Wheel (Lifecycle Design Strategies), Brezet and Van Hemel (1997) visualized the results of establishing the most promising eco design strategy for a product. The Eco Design wheel is best applied in the first stage of a product design process as it is a tool that helps to evaluate the sustainability of a product and aims to minimize the impact on the environment.

During the analysis of the environmental product impact, the options will be grouped according to the classification of eight eco design strategies, which are new concept development, selection of low-impact materials, reduction of materials usage, optimization of production techniques, optimization of distribution system, and reduction of impact during use, optimization of initial lifetime and optimization of end-of-life system. This strategy will help as a comparison between the existing product and the possibilities of the new product as shown in figure 2.11 as well as improving and pushing the environmental impact of the product further (Brezet and Van Hemel, 1997).

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The EcoDesign Strategy Wheel (Brezet and Van Hemel, 1997)

@

Product System Level 7. Optimization of end-of-life system - Reuse of product - Remanufacturing/ refurbishing - Recycling of materials - Safer incineration

@ New Concept Development

7

-

1

Dematerialisation Shared use of the product Integrations of functions Functional optimization of product

Product Component Level 6. Optimization of initial lifetime - Reliability and durability - Easier maintenance and repair - Modular product structure - Classic design - Strong product-user relation

6

2

5

3 4

1. Selection of low-impact material - Cleaner materials - Renewable materials - Lower energy connect materials - Recyclable materials

2. Reduction of material usage - Reduction in weight - Reduction in (transport) volume

Product Structure Level 5. Reduction of impact during use - Lower energy consumption - Cleaner energy source - Fewer consumables needed - Cleaner consumables - No waste of energy/consumables

4. Optimization of distribution system - Less/ cleaner/ reusable packaging nergy efficient transport mode nergy efficient logistics

Existing Product

3. Optimization of production techniques - Alternative production techniques - Fewer production steps - Lower/ cleaner energy consumption - Less production waste - Lower/ cleaner production consumables

Priorities For The New Product

Figure 2.11 The EcoDesign Strategy Wheel (Brezet and Van Hemel, 1997).

Chapter 2

2.4 Precedents 2.4.1 Cavallum The Wine Lamp, 2007

Tati Guimarães A Brazilian designer founded her design studio Ciclus in 2001, foucuses on expresses emotion through design and ideas are transformed with sensivity into unique projects.

Figure 2.12 Tati Guimaraes. (livingdesign.net, 2013).

“When designing, I go beyond functionality, beauty and sustainability” (Tati Guimarães, 2012).

The Cavallum packaging concept (fig. 2.13) was designed to produce a product that ‘deeply touched the soul’ and at the same time had a powerful ecological message (Greenmuze. com, 2008). Cavallum is a wine box that can be converted into a lamp with no extra parts required. Therefore, the package itself becomes a product through giving it a second life for the packaging (fig. 2.14/2.15).

The eco-friendly lamp Cavallum is hand crafted by Tati Guimaraes, a Brazilian designer who focuses on expressing emotions through design, in her design she reflects how packaging can be attractive, functional and sustainable through its ecological position as well as unique concept (Kain, 2008).

Figure 2.13 The Cavallum Wine Box (Agenciabridge.com, 2012).

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Figure 2.14 [Left] Cavallum Wine Packaging. (Agenciabridge.com, 2012).

Figure 2.15 [Right] Cavallum Lighting Box. (Agenciabridge.com, 2012).

Analysis Usability & Function The Cavallum package is functional, simple to use and interactive. With simple instructions written on the back of the box, the light can be assembled to illuminate the whole box after using the wine bottle inside. However, extra wood cover along with the lighting hardware parts increases the price of the wine bottle.

Structure Cavallum is made of wood from local managed forests and from recycled cardboard. Although its made of eco-friendly material, the wood material can be considered as heavy material in addition to the bottle weight inside. Moreover, it contain two parts, the bottom cardboard box holds a hardware package for the light and the top wood shell for the light effect.

Aesthetics The wine box is sleek, elegant and attractive where beautiful light shines through vertical slits and groves in the soft wooden shell giving an amazing light effect. In addition, the wooden colour and texture of the box adds a natural warm feeling to the interior when used as a lamp.

Chapter 2

2.4 Precedents 2.4.2 Postcarden

Aimee Furnival A British designer born in 1981 formally working at A Studio for Design, currently a director at Another Studio company.

Figure 2.16 Aimee Furnival (Domestic Sluttery, 2011).

“Packaging is about telling an interesting story and creating an experimental opportunity for consumers� (Dougherty, 2009).

According to Dezeen (2010), the London designer Aimee Furnival designed a series of greeting cards that fold out into miniature gardens (fig. 2.17). Postcarden is an illustrated postcard in the form of a package that contain cress seeds that individuals can grow, it is an easy, inexpensive and thoughtful gift someone can send or receive. With her garden design and unique concept, Furnival did not just give a second life for the package of the postcard, but she brought real life into it through the simple pleasure of having a botanical garden in home interiors (Warr, 2010).

Figure 2.17 Postcarde (Outside the Box, 2010).

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Figure 2.18 [Left] Postcarden Package (Dezeen, 2010).

Figure 2.19 [Right] Postcarden Cress Seeds (HarryG, 2012).

Analysis Usability & Function The design of Postcarden is very functional and interactive combining a gift and a greeting card. It is fun, simple and entertaining to use along with the longing feeling to see the final outcome when the seed grows. The instructions are straightforward and the seeds germinate quickly for a fast result for the user.

Structure The illustrated cards are constructed using simple ‘cuts and folds’ supported by the instructions producing a great 3D cardboard scene. In addition, the cress seeds are edible and nutritious, while the postcard itself is made of recyclable material therefore the product supports the message of growing a plant and saving the earth.

Aesthetics Each postcard can have a different 3D scene such as a courtyard or football stadium. The packaging is charming with neatly contained illustrations of the scene. The contrast between the green grass and the brightness of the white card adds a different feeling and focus toward greenery and the importance of growing plants.

Chapter 2

2.5 Future The Future of Paper 3D Printing

Dr. Conor MacCormack Dr. MacCormack is an Irish Doctor who is interested in 3D printing technology.

He is the Co-founder and CEO of Mcor Technologies.

Figure 2.20 Dr. Conor MacComack CEO and co-founder of Mcor Technologies (3dnatives.com, 2013)

Paper is one of the cheapest most accessible material around us, good enough for professional eco-friendly 3D printers to utilise (MacCormack, 2014).

Heller (2014) when interviewing Dr. MacCormack points out that the goal was to create a printer that everybody would want to have and that makes a difference in the world. By using paper as a material to create 3D printed products, the cost of it, is significantly less than competitors as costumers can use their own material such as standard office paper. Moreover, the machine MacCormack designed can take the layers of paper piled together under high pressure to create a strong, durable and in some points, flexible product (MacCormack, 2014).

The future of paper 3D printing is a great opportunity to utilise paper packaging sustain ably. Eco-friendly 3D printing allows for unlimited modularity and creativity utilising the affordable material source of recycled paper and as a result generating a warm, tactile response that is uniquely pleasing to the touch.

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2.6 Key Findings

Figure 2.21 Clear-cut Forests Near Eugene, Oregon (Calibas, 2011).

Compared to other materials such as plastic and glass, paper and cardboard have an advantage in the respect that they are easily recyclable. However, when considering the impact that occurs from the need to replace indigenous trees with fast-growing trees to produce a higher volumes of cardboard packaging, raises the issue that cardboard as a sustainable product is not without its flaws or drawbacks.

Therefore, in order to over come the above issues, other aspects should be considered when designing sustainable packaging.

For example reducing the amount of material to produce the packaging and/or reusing and giving the packaging a second life while creating ‘an experimental story’ and opportunity for customers through its design (Dougherty, 2009; Warr, 2010).

Chapter 2

Re-Think What are the standards and requirements for postage within the Post Office domestic retail market?

Figure 3.1 Traditional red and black Royal Mail post box from 1866. (keeleyhire, 2015)

CHAPTER THREE 3.1 Definition What is Post Office retail market and packages standards.

3.4 Precedents 3.4.1 Woolcool 3.4.2 RePack

Focus

3.2 Evolution The Evolution of postal packaging

3.5 Future The future of Post Office packaging

Post Office retail market and postal packaging regulations, rules and standards.

3.3 Theorist 3.3.1 A new diminsion in packaging 3.3.2 Guidelines for smart shipper

3.6 Key Findings

3.1 Definition What is Post Office retail market and packaging standards?

3.1.1 Post Office Retail Market The Post Office retail market is the shop based within the post office that manages local stock and discount campaigns. It also displays a variety of products available for sale, in a way that stimulates customer’s interest for them to use in posting products (Escher Group, 2015). According to the Post Office Shop (2015), the postal supplies are stamps, packaging tape and dispensers, shrink and bubble wrap, cardboard boxes and postal scales along with a range of envelopes.

3.1.2 Post Office Postal Packages Standards Retail market standards are the legal requirements, guidelines, regulation and the trading policies that the Post offices set for the merchandised packages. Those standards sets an efficient guideline for posting and delivering by safe storing, speed, privacy and looking at reducing carbon footprint (Marketing Donut, n.d.).

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Figure 3.2 Post Office Merchandise (Post Office Shop, 2015).

3.2 Evolution The Evolution of Postal Packaging

According to Benasch (2013), postal packaging development is always trying to reach the maximum of material reduction. As a result of this reduction, the customers are insured with solutions that fit their budget and the quality of the goods.

However, reducing budget not only results in fewer materials used in the packaging, but more efficient use of size and space for transportation. It means the posting company can transport more packages in one time, which also reduce the carbon footprint of the product (Chaffin, 2012). Figure 3.3 is an example of Apple packaging evolution that helped in maximizing the amount of devices on each shipping pallet by reducing the size of the package that is stated in Apple.com (2015).

2007 iPhone

2011 iPhone

Figure 3.3 Apple reduction in packaging (Apple, 2015)

Chapter 3

3.3 Theorist 3.3.1 A New Dimension in Packaging

Mark Del Franco Mark Del Franco is a writer and author at Multichannel Merchant.

Figure 3.4 Mark Del Franco (Markdelfranco.com, 2014)

According to Franco (2007), the United State Postal Service (USPS) is taking into consideration that the weight of a package used to be the major factor in determining the package price. However, UPS, FedEx, and DHL are now taking size and shape of the package into greater consideration because it takes a space in a carrier’s truck.

“The dimensional-weight-based charges are in response to lowerdensity packages, more expensive routes, and rapidly increasing fuel costs” (Franco, 2007). He emphasizes the beauty of using the Multi-depth carton (Figure 3.5) that can expand into different sizes by simply cutting each side down to the desired depth and fold in the resulting flap. They therefore reduce the empty voids within the packages when shipping.

Despite the fact that parcel dimensions are becoming more of a factor in determining shipping costs, weight is still a factor as well. He also adds to consider the effect on the package’s protective ability when switching to a lower-cost packaging (Franco, 2007). Therefore, size and weight are considered as internal cost factors while the external cost factor is the chosen service for the to be delivered such as first class or second class (See Appendix D, line 11).

Figure 3.5 Multi Depth Boxes (Uline.com, n.d.).

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3.3.2 Guidelines for Smart Shippers

Clyde E. Witt “After a life of writing I’ve opted to write about life“. Witt is a journalist and a writter born in 1966.

Figure 3.6 Clyde E. Witt (Mhlnews.com, 2005).

Postal packaging guidelines assist in designing packages to enhance customers satisfaction (Witt, 2006).

In his article, Clyde E. Witt (2006) speaks about the huge number of packages being delivered every year as FedEx, DHL and UPS calculations range between 2 to 15 million package per day in the United State. Witt is not questioning the number of packages but how all of these parcels get to their destinations is the main concern.

One of the key elements in creating successful postal packaging is the environmental awareness surrounding the logistics. For example the carriers, vibration, compression, moisture, corrosion and temperature, which can destroy the efforts of even the best package designer (Guide to Packaging Freight Shipments, 2007).

Witt is advising to refer to postal packaging guidelines as they help in designing packages to achive customer satisfaction (Witt, 2006).

Chapter 3

3.4 Precedents 3.4.1 Woolcool Boxes Packaging, 2008

Angela Morris Researching and packaging developer using natural, eco-friendly and sustainable alternative to man-made polymers.

Figure 3.7 Angela Morris (Woolcool.com, n.d.).

Woolcool boxes was launched in 2008, it is made from British sheep wool that has been washed, scoured and needle-felted to produce a fleecy insulation material (Goldstein, 2009).

Moreover, the fabric is sealed within recyclable food grade film, which is micro-perforated so that the wool can breathe (fig. 3.9), allowing for a hygroscopic cooling effect. Therefore, Woolcool boxes are specially designed for mail order deliveries and distributing, for all kinds of temperature sensitive products according to 3Rsustainableproducts. co.uk (n.d.).

Angela Morris, the founder and designer of Woolcool said that it is also used to create insulation liners in a range of recyclable cardboard delivery boxes, that “fits perfectly with our reduce, reuse and recycle mantra� (Morris, 2009).

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Figure 3.8 [Left] Woolcool Box (Woolcool.com, 2009).

Figure 3.9 [Right] Woolcool Pads (Alter, 2009).

“The package with more sustainable solutions really can be the most practical and cost-effective option.”

(Morris, 2009)

Analysis Usability & Function Woolcool is very effective at maintaining constant temperatures, flexibility, cushioning, compostable, absorbing and releasing moisture. According to Woolcool.com (n.d.), the ‘smart’ wool fibres also allow to absorb humidity and create a more hygienic environment for healthy delivery. In addition, unpacking the Woolcool box of goodies is an absolute delight.

Cost As the package is supplied in flat packed items, the cost is effective as fewer deliveries are required due to its storing practicality and “has none of the punitive cost implications regarding waste disposal” (3Rsustainableproducts.co.uk, n.d.).

Structure Woolcool packaging is less bulky as its produced in flat packs that takes much less storing space.

It’s also protective due to the strong cardboard boxes that are not easily broken and the wool liners that works as a cushion for contents to prevent damage during transportation (A smart, natural fibre, 2014).

On the other hand, this product fails in approaching all society. Veganism philosophy “animals are not our to eat, wear, experiment or use for entertainment” restrict the target audience for Woolcool (Alter, 2006).

Aesthetics This packaging design is very tactile, soft and flexible. The grey tone of the wool matches the brown shade of the cardboard keeping it with the neutral theme. Such approaches, however, offer little room for personalization through its simplicity.

Figure 3.10 Woolcool Range Boxes (Woolcool.com, 2009).

Chapter 3

3.4 Precedents 3.4.2 RePack - Online shopping packaging system, 2014

Yu-Chang Chou Royal College of Art graduate, with MA Innovation Design Engineering he is combining his both design and engineering skills.

Figure 3.11 Yu-Chang Chou (rca.ac.uk, 2014).

“Through return and reuse, it makes online shopping more environmental friendly and cost-effective for both the retailer and customer” (Chou, 2014).

“Most current secondary packaging is designed for single use, leading to a substantial amount of waste” (Corbin, 2014). Therefore, RCA graduate Chou created a return and reuse packaging system in order to make online shopping more environmental friendly and cost effective, “Repack provides packaging as a service in collaboration with existing postal systems rather than as a one-off product” (Chou, 2014).

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Figure 3.12 [Left] Repack Online Package (Dezeen, 2014).

Figure 3.13 [Right] Returning The Repack Package (Dezeen, 2014).

Figure 3.14 Repack Functional Process (Dezeen, 2014).

Analysis Usability & Function Repack is practical, functional and environmental friendly. According to Dezeen (2014), customers can remove the address label, fold and reseal it and post it back through the post office box once they receive the product from online purchases (see Figure 3.11).

The pack can be reused up to 200 times (Radley, 2014), which means that the designer is extending the functionality of the package but at the end it’s still going to be wasted. Another issue to consider is, if people have the knowledge and motivation to send the package back.

Structure The Repack bags are made out of two layers, both are durable and recyclable. First is the outer bag, which is made with durable polyester fabric made from recycled PET bottles that can be opened and resealed through a zip slider. The inner bag is a black bag made with ‘microcellular polyurethane’, that works as a cushion to protect and contain the posting products (Radley, 2014).

Although Repack comes in a different range of sizes, the largest size of it is ----. Therefore, it will be unable to handle products that exceed that limit.

Aesthetics The contrast between the white outer bag and the inner black bag is adding a pleasant monochrome aesthetic to the package However, the design failed to consider the colour white for the outer bag, that will show damage and dirt more easily after being reused a few times.

Chapter 3

3.5 Future The Future of Post Office Packaging

Paul Jenkins Royal College of Art graduate, with a MA in Innovation Design Engineering. He combines both design and engineering skills in his practice.

Figure 3.15 Paul Jenkins (Packaging News, 2014)

“Growth of Online shopping means the fundamental role of packaging is being permanently altered” (Jenkins, 2014).

Jenkins is researching and reconsidering the roles and purpose of packaging as a tool to persuade, protect and inform in terms of consumer shopping behaviour shifting. Nowadays, packaging’s role is fundamentally different as parcels are delivered to the consumer’s door due to online purchasing. Therefore, “packaging takes a backseat” (Jenkins, 2014) as it is no longer part of the decision making process.

Jenkins believes that package’s aesthetics are no longer required by customers. However, the future role for postal packages to meet the needs of the new world consumers must feature cost reduction and environmentally friendly packaging (Jenkins, 2014).

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3.6 Key Findings

Figure 3.16 Royal Mail Van (Bennett, 2013).

In the new world of online and postal delivery services, customers are looking for the cheapest way for products to be safely delivered. In response to package weight and size being the main factors in determining the package cost, postal package development shows that due to material and size reduction, cost is massively reduced due to lowering the number of shipping trips.

Function also plays a strong part in postal packaging, it controls the reuse system to maintain cost and interactive satisfaction.

On the other hand, function also has different aspects by looking through the environment by which the package will travel helping to ensure protection for the package to be delivered safely.

As a result of guidelines set up by postal orgnizations in regard to packaging dimensions, designers are guided and influenced in regard to the design of the package in terms of aesthetics, structure as well as function.

Chapter 3

Key Findings Summery

Research Reflection Summery of key findings and research conclusion

Packaging has always been the first interaction between a customer and the product in the market place, it plays a major role in decision making process. This role is fluctuating when it comes to postal packaging, customers now primarily desire for their products to be delivered safely with the cheapest price. In both cases, packaging waste started to increase massively over time. Over the past decade researchers have recognized this problem of packaging waste when it started to impact upon the environment and society as a whole.

Cardboard became more prominent and started to be the key material for postal packaging due to its great features of being strong, light weight, flexible and engaging. Although cardboard is considered as a sustainable material for being recyclable and compostable to control packaging waste, it’s sustainability to protect the environment can be problematic and questioned when considering the impact that occurs from replacing indigenous trees to fast-growing trees to mass produce fibre for cardboard packaging.

Postal Packaging waste can be controlled through guidelines that are set by governments and Post Offices to be followed. These guidelines help in influencing the design of the package in terms of weight, shape and size to meet the regulations. In addition, the guidelines on size and weight help in lowering the shipping costs.

Although cheap sustainable packaging can satisfy the customers, cost reduction is not the only key factor for successful postal packaging, protective safe delivery is also important. In response to this, the environment through which the package will travel must be studied as well to provide the most suitable packaging for that journey.

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Research Conclusion This report has approached packaging through three main aspects which are material, environmental impact and function. Moreover, Postal Packaging and delivery services have an important rule in our life nowadays due to the popularity of online shopping recently (Mintel, 2014). As a result of this, a significant opportunity has showed toward the future of postal packaging to create an interesting combination of prime and second use of the package.

Further to this, the strategy of this product will focus in combining the three main sustainable factors, recycle, reduce and reuse with the features and strength of cardboard while maintaining the Post Office guidelines to design a product that support an ethical sustainable message.

It is unrealistic to expect that the environmental impact issue will be solved through one design. However, this project have the intention of reducing negative impact as it will not only reduce the packaging waste from an environment point of view, it will also create an experimental story and creative opportunity for customers through its design. Therefore, human behaviour and interactive scenarios should be taking into consideration when designing the second life of the package without neglecting the prime use of the package.

Figure 3.17 Playful Flatpack Furniture Folds Like Origami (Zhang and Thonsgaard, 2013).

Re-Create The three proposed design concept for the post office retail market packaging?

Figure 4.1 [Left] Bloom Blanket (Bloom Blanket, 2014) Figure 4.2 [Middle] Translated Geometric (Cargocollective, 2014) Figure 4.3 [Right] Plantation (Planting Vegetables, 2015)

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CHAPTER FOUR

Focus Defining and analysing three possible concepts for the proposed project.

4.1 Concept One - Re-fold Product: Shape shifting Package Users: Adults Location: Home and offices 4.1 Concept Two - Re-Build Product: Building blocks package Users: Kids Location: Residents and schools

4.1 Concept Three - Re-nature Product: Environment reformation Users: Green charities Location: Green events

Concept one

4.1 Re-Fold

Shape Shifting Postal Packaging

4.1.1 Introduction Shape Shifting - is a postal packaging system that allows the cardboard to be converted from the package into different pieces of furniture. This concept is designed to promote the message of recycling and reusing and at the same time encourage creativity whilst adding a natural touch to the interior through the cardboard pieces.

Figure 4.4 LG’s Reusable Package (Lee, 2011).

4.1.2 The Concept (What, Where, Who, How, and Why?) The Shape Shifting postal packaging system is designed for those who use the postal and delivery service frequently. It allows converting the cardboard package into different pieces of furniture. Therefore, its primary use is aimed at individual domestic consumers, a secondary use would be office consumers while encouraging creativity for both target audiences.

Many young adults today are seeking opportunities for a sense of achievement and personal fulfilment. Therefore, young adults who are interested in building and making things themselves ‘DIY’ are the primary users for this concept. The second users this concept is aimed at are young adults who are overwhelmed in office work and encourage them to do physical activities that are lost nowadays through sedentary office work and getting rid of stress after a long day at work.

This concept is providing an opportunity for creativity and self expression as well as economic considerations to support an ethical sustainable message through being reusable, recyclable and compostable. In addition, DIY activities are considered as therapy for users to relax and express themselves.

4.1.3 Concept Visualization

Figure 4.5 [Top left] Ron Resch.

(Pinapardo, 2012).

Figure 4.6 [Top middle] 3D Tessellated Structures (Pinapardo, 2012).

Figure 4.7 [Top right] Wooden Textile.

(Studio Been, 2014).

Figure 4.8 [Buttom Left] Playful Flatpack Furniture Folds Like Origami (Zhang and Thonsgaard, 2013).

Figure 4.9 [Buttom middle] Origami Tessellations (Pinapardo, 2012).

Figure 4.10 [Buttom right] Foldschool (Kueng, 2007).

Chapter 4

4.1.4 Sketches

Figure 4.11 Refold Concept Sketches (Ebrahim, 2015).

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Figure 4.12 The Furniture Pieces of the Refold Concept (Ebrahim, 2015).

Chapter 4

4.1.5 SWOT Analysis

S

Strengths

- Encourage physical activities - Flexible and multi-functional - Potential for a variety of furniture pieces - Affordable for customers - Interesting piece of furniture - Environmental friendly - Encourage recycling activities

O

Opportunities

- Growing awarness of sustainability in the market - Paper industry is growing as consumers deem paper recyclable - Evoke attention to Eco-friendly material - Growing of DIY trends

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W

Weaknesses

- Durability issues - Lack of strength (the package and piece of furniture) - Design creativity limitation - Instructions can be complicated - Not every one is interested in such activities

T

Threats

- Scale and safety issues - Other designers offering similar themes of cardboard furniture - Product designed with a short life spam

4.1.6 User Needs

Figure 4.13 Wooden Textile By Elisa Strozyk (Studio Bee, 2014).

Although paper and cardboard industries are supported as a result of the recycling phenomena, user needs should be taken into consideration. Regarding the prime use of the product, the package should be easy to assemble, protective, provide clear information of destination and economically affordable.

However, to successfully encourage users to engage with the second life of the package, it should be flexible, playful and easy to assemble through providing clear and visually simple instruction of assembling.

In addition, the resulting piece should meet the basic requirement of furniture such as structure, strength, scale and proportion.

4.1.7 Target Market Analysis Mintel market research shows that 70% of the UK population are interested in DIY products because of its special motives (Goody, 2015). DIY in some cases considered as leisure activity while it adds “personal touch on the space�, creative achievement and sense of pride. Therefore, this concept is intended for those who are interested in DIY products and recycling as well as geometrical shapes.

Chapter 4

Concept Two

4.2 Re-Build

Building Blocks Postal Packaging

4.2.1 Introduction Building Blocks Package - “Cardboard can engage children for hours for minimal cost and minimal impact on the planet” (Kable, 2013). The Building Blocks are cardboard pieces taken from the postal packaging, it helps children as well as young adults in engaging with nature and eco living while developing lateral thinking in a fun environment.

Figure 4.14 Little Roar Head By Sarah Gardner (Flatout Frankie, 2014)

“Inside a big cardboard box, a child is transported to a world of his own, one where anything is possible.”

(National Toy Hall, 2005).

4.2.2 The Concept (What, Where, Who, How, and Why?) This concept suggest that every postal package being delivered is designed in a way, which can be separated into different sized and shaped cardboard pieces, these pieces are the Building Blocks. The cardboard blocks are designed for home environment (primary use), or for childrens learning area such as kindergartens (secondary use).

For primary use, it aimed at parents who are use online shopping frequently and are willing to pass the packages to their children to play with. This will encourage parents to engage with interactive activity with their children to enhance parent children relationship. On the other hand, this concept can engage in educational activities in schools and kindergarden to encourage childrens creativity.

The package will contain perforations that allow the cardboard to be separated into pieces, these pieces are used as blocks for the children to play with. It is designed to create a natural eco environment in addition to developing children’s creativity, imagination and resourcefulness through socializing and engaging.

4.2.3 Concept Visualization

Figure 4.15 [Top left] Abe’s Market Building Blocks (Black, n.d.).

Figure 4.16 [Top middle] Green Laptop Desk (Zdomo.com, 2012).

Figure 4.17 [Top right] Recycled Cardboard Block Set (Fogelson, 2012).

Figure 4.18 [Buttom Left] Cardboard Lounge (Graas, 2009).

Figure 4.19 [Buttom middle] Radiolarian Sofa (Lazerian Studio, 2010).

Figure 4.20 [Buttom right] Nova Natural’s Handmade ‘Wooden LEGOs’ (Williams, 2013).

Chapter 4

4.2.4 Sketches

Figure 4.21 ReBuild Concept Sketches (Ebrahim, 2015).

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Figure 4.22 Pieces of The Rebuild Concept (Ebrahim, 2015).

Chapter 4

4.2.5 SWOT Analysis

S

Strengths

- Develop creativity, imagination and resourcefulness - The more packages delivered, the more pieces collected - Flexibility and unlimited construction possibilities - Affordable and environmental friendly - Easy and simple to use - Social interactive activity

O

Opportunities

- Suit a large customer range (Parent, children and young adults) - Collaboration opportunities with manufacturers - Children getting bored of their toys quickly - Better society through children and parents engaging in activities

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W

Weaknesses

- Childrens recklessness with toys - Not durable - Weak structure - Not so innovative

T

Threats

- Many competitors in the market - The original package could be weakened as a result of the perforations

Figure 4.23 Abe’s Market Building Blocks (Black, n.d.).

4.2.6 User Needs Simple functionality and practicality is required in this concept, whether the users were children or adults, the building blocks should be playful, light, easy to store, solid to maintain durability and flexible for unlimited construction possibilities.

They should also be easy to joint together and create stable structure.

In terms of the original package however, the main role of this product is protection as the prime purpose in delivering the goods safely. Therefore, the perforations must not conflict with the original package purpose and protection, easy to assemble with clear information of how to use and distention address.

4.2.7 Target Market Analysis According to Key Note market research, retail sales estimates highlight ‘activity toys’ such as building blocks and construction sets represented 15.3% of the total UK toys and games market in 2013 (Toys & Games, 2014). In addition to this, Mintel market research highlighted that the percentage of customer’s online shopping exceeded 10% growth every year in the last 5 years (Lipson, 2014).

In response to this, parents who intend to make numerous online purchases are the target audience as it will also help in reducing toys purchasing for their children through passing the building blocks package to them.

Chapter 4

Concept Three

4.3 Re-Nature

Postal packages that return to earth

4.3.1 Introduction Renaturation - This concept has been derived from the medical definition which refers to restoring ‘proteins and molecule’ to their native conformations (Blood, Studdert and Gay, 2006). Therefore, when considering product design it relates to creating a product that returns to its original state.

Restoring the life that has been lost during the manufacturing process.

Figure 4.24 Growing Plant (Planting Vegetables, 2015)

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4.3.2 The Concept (What, Where, Who, How, and Why?) The environmental impact of the principal use of making wood pulp for paper production lead to a concept that speaks about the possibility for that tree that has been cut down to produce cardboard packages to be replaced to grow another tree or plantation. Through this, the location of the product can be used for schools as a primary use and houses courtyards for home education as secondary use.

The target users for this concept vary between children to young adults in addition to green charities that support the awareness that felling trees impact on the environment to send and deliver their products by post.

Therefore, this product can be utilized either in public garden events or residential private gardens.

Renaturation packaging concept proposes seeds to be manufactured within the cardboard structure of the package. This allows users to use the cardboard of the package as compostable material to grow new trees.

The main aim of this concept is to promote customers conciseness about sustainability and carbon footprint reduction in a fun and educational atmosphere.

4.3.3 Concept Visualization

Figure 4.25 [Top left] Molecule (ADC Review, n.d.).

Figure 4.26 [Top middle] Clear-cut Forests Near Eugene, Oregon (Calibas, 2011).

Figure 4.27 [Top right] Growing (Alquity, 2014).

Figure 4.28 [Buttom Left] Planting (Pine Ridge, n.d.).

Figure 4.29 [Buttom middle] Microscope Image of A Seed (Illinois Natural History, 2015).

Figure 4.30 [Buttom right] Antelope Canyon (Michelle & Vincent Photography, 2012).

Chapter 4

4.3.4 Sketches

Figure 4.31 Corrugated Cardboard With Seeds (Ebrahim, 2015)

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Figure 4.32 Forming New Tree (Ebrahim, 2015)

Chapter 4

4.3.5 SWOT Analysis

S

Strengths

- Sustainable commitment through manufacturing and material selection.

- Encourage new customer behaviour - Interesting to use - Cardboard being a compostable material

O

Opportunities

- Current trends are toward sustainable approaches and green solutions - Potential for plantation collection variety - Opportunity to use biodegradable practices, the capability of the packaging being decomposed by nature

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W

Weaknesses

- Lack of interest, not every one would be interested in such activities - Not all mainstream manufacturers will be able to produce such a product - Sustainable production processes must be used to fulfil its sustainable promise - More expensive than usual packaging

T

Threats

- Not everyone is motivated by sustainable issues - Many people are motivated by money and economical factors

4.3.6 User Needs

Figure 4.33 Soil Compost (Grow Organic, 2012)

Similar to the previous two concept, the prime needs of the package is to be protective, easy to assemble and affordable. However this concept tackle different aspects of the production of this package which requires different manufacturing methods. Therefore the package should provide attractive as well as simple instruction to the message behind this message and how to use.

For its second life, the cardboard must contain the basic features to allow fast growing plantation, this is needed to maintain users patient and encouragement. It should also be hygienic and playful when deconstructing the original package.

4.3.7 Target Market Analysis Although expenditure on ethical products represents only a minimal proportion of total household expenditure, Key Note market research on ethical consumer behaviour continues to observe relatively strong ethical conscious growth of awareness over the past five years (Green & Ethical Consumer, 2015). Therefore, this concept focuses on ethical consumers interested in domestic renewable energy.

Chapter 4

Re-Create Chosen design concept analysis, design proposal, hypothesis and design brief.

Figure 5.1 Basic Marker Cube (Idsketching, 2009)

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CHAPTER FIVE

5.1 Chosen Concept Defining the chosen concept and the reason behind this decision

Focus Defining the chosen concept, hypothesis and design brief

5.2 Project Hypothesis Proposed explnation as a starting point for further investgation

5.3 Design Principles Descriping fundamental ideas and concept used to orgnize structural elemts of design 5.4 Design Brief Defining what, who, where, why and how

5.1 Chosen Concept

Re-Build Concept two is about transforming the postal package into cardboard building blocks Figure 5.2 Three-Part Anchor (Thingiverse, 2013).

Through the three concept analysis as well as personal interest, concept two appears to have high potential, unlimited possibilities and creative solutions for the proposed project. In addition to reducing the amount of packaging waste, which was the first intention of this project, this concept also communicates other aspects such as embracing parents and children engaging in interactive activities.

In regard to concepts one and three, certain aspects limited the potential possibilities and innovation opportunities, such as durability and customers lack of interest. As a result, they offered less in terms of changing customers behaviour.

To create a successful first and second use package, the chosen concept not only needs to focuses on recycling, reusing and reducing but also functionality and practicality. Additionaly, weaknesses in the design and application should also be considered.

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5.2 Hypothesis

Figure 5.3 Laser Cut Air Plane (Finework, 2014)

‘Through a creative, innovative and interactive design, it is possible to promote an ethical sustainable message by utilizing cardboard postal packaging in a second life aspect in order to overcome the problematic issue of packaging waste whilst encouraging parents and children to engage in interactive activities’.

Chapter 5

5.3 Design Principles Interactive postal packaging design should evoke a positive domestic environment for family interactions through its practicality and engagement. Design principles should also focus on function rather than aesthetics because the main idea is allowing children to play with what is meant to be discarded as waste.

Furthermore, this product is aimed at providing an interesting user experience and encouraging family activities whilst limiting postal packaging waste.

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Figure 5.4 Joinery Models (Studio Make Do, 2012)

5.4 Design Brief Design Concept The cardboard postal packaging can be sold within the post office retail market. As a secondary use, the package can be turned into interactive building toys that encourage creativity and resourcefulness, the concept leads to reduced packaging waste through this second life usage. As well as the area of children education, this product can be used within the home environment to develop the relationship between parents and their children.

User Needs In order for this product to be successful, the package must be strong enough to safely deliver the goods and flexible enough for the building blocks to be easily used. In addition, the building block pieces should form stable structures while allowing unlimited construction possibilities.

Visual Aspects The original package design should offer a unique visual characteristic to easily inform users about its environmental message. On the other hand, the building block pieces should also be aesthetically appealing in order to embrace children’s interest and to be worth retaining. However, aesthetics must not conflict with the functionality of the product.

Production Methods This product is designed for the capability of mass production as the plan would be for it be mass marketed for sale in Post Offices and stationary outlets. It will also encourage customers to use the packaging product more often in order to collect more building blocks pieces.

Unique Selling Point This product’s USP is its concept and sustainable commitment through material selection and second usage. Due to the growth of online shopping, there is a greater demand for cardboard postal packaging and this product intends to harness this demand through an environmental second usage approach that encourages educational creativity and imaginative activities for children.

Chapter 5

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References Project Sources

Books (Printed):

Newspaper and Magazine Articles:

Boylston, S. (2009). Designing Sustainable Packaging.

London: Laurence King.

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DuPuis, S. and Silva, J. (2008). Package Design Workbook.

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Images Report Introduction Figure 0.1 Ebrahim, A. (2015) Arrow Cardboard Units [Photograph].

Figure 0.2 Ebrahim, A. (2015). The Research Report Structure [illustration].

Figure 0.3 Ebrahim, A. (2015). Personal Time Management Methodology [illustration].

Figure 0.4 Hayes, L. (2014). Design Museum. [image] Available at: http://www.archdaily.com/400351/ zaha-hadid-purchases-the-design-museum-inlondon/51df3bb0e8e44e687300004d_zaha-hadid-purchasesthe-design-museum-in-london_designmuseum-01-designmuseum-daytime-photographer-luke-hayes-jpg/ [Accessed 28 Apr. 2015].

Figure 0.16 Makewealthhistory, (2011). Cradle to Cradle. [image] Available at: http://makewealthhistory.org/2011/01/17/ cradle-to-cradle-by-michael-braungart-and-williammcdonough/ [Accessed 22 May 2015]. DuPuis Group, (n.d.).

Figure 0.17 Package DuPuis Group, (2008). Package Design Workbook. [image] Available at: http://www. packagedesignworkbook.com/ [Accessed 22 May 2015].

Figure 0.18 Sherin, A. (2008). SustainAble: A Handbook of Materials and Applications for Graphic Designers. [image] Available at: http://www.amazon.com/SustainAble-HandbookMaterials-Applications-Designers/dp/1592534015 [Accessed 22 May 2015].

Figure 0.5 Ebrahim, A. (2015). Participating in Design Museum [Photograph].

Figure 0.19 Zhang, Y. and Thonsgaard, I. (2013). Playful Flatpack Furniture Folds Like Origami. [image] Available at: http://www.zhangthonsgaard.com/index.html [Accessed 17 Mar. 2015].

Figure 0.6 Envirolite.co.uk, (2015). Envirolite Packaging Exhibition Stand. [image] Available at: http://www.enviro-lite. co.uk/envirolite/blog&news=104 [Accessed 4 Mar. 2015].

Chapter 1

Figure 0.7 Envirolite.co.uk, (2015). Envirolite Packaging Exhibition Cardboard. [image] Available at: http://www.envirolite.co.uk/envirolite/blog&news=104 [Accessed 4 Mar. 2015].

Figure 0.8 Ebrahim, A. (2015). Royal Mail Post Pack [Photograph].

Figure 0.9 Ebrahim, A. (2015). Three Post Cards [Photograph].

Figure 0.10 Key Note, (2014). Key Note Reports. [image] Available at: http://www.keynote.co.uk/[Accessed 16 Feb. 2015].

Figure 0.11 International Innovation, (2014). A smart Natural Fibre Article. [image] Available at: http://www. internationalinnovation.com/a-smart-natural-fibre/ [Accessed 22 May 2015].

Figure 0.12 Dixon, P. (2008). Keynote Packaging Future Confrence. [image] Available at: https://www.youtube.com/ watch?v=djSWPET40Ro#t=21 [Accessed 22 May 2015].

Figure 0.13 TerraSkin, (2005). Designing Sustainable Packaging. [image] Available at: http://www.terraskin.com/ media/news-magazines [Accessed 22 May 2015].

Figure 0.14 Reisman, S. (2006). TRASH, a new publication from Alphabet City. [image] Available at: http://www. susanareisman.com/visual-blog--news/plastikos-included-intrash-a-new-publication-from-alphabet-city [Accessed 22 May 2015].

Figure 0.15 Black dog, (2010). Out Side The Box. [image] Available at: http://www.amazon.co.uk/Outside-BoxCardboard-Design-Now/dp/1907317104 [Accessed 22 May 2015].

Figure 1.1 Fencorpackaging, (2013). StockBox Corrugated Cartons. [image] Available at: http://www.fencorpackaging. co.uk/index.php/products/glued-corrugated-boxes/ [Accessed 18 Feb. 2015].

Figure 1.2 Fiber Box Association, (2014). Corrugated Cardboard. [image] Available at: http://www.fibrebox.org/Info/ WhatIsCorrugated.aspx [Accessed 15 Feb. 2015].

Figure 1.3 Augmented Reality Trends, (2015). DHL Augmented Reality. [image] Available at: http://www. augmentedrealitytrends.com/wp-content/uploads/2015/01/ DHL-Augmented-Reality.jpg [Accessed 15 Feb. 2015].

Figure 1.4 Key Note, (n.d.). Key Note Logo. [image] Available at: http://www.keynote.co.uk/[Accessed 16 Feb. 2015].

Figure 1.5 Forrester, T. (2009) Birdfeeder Packaging [Collage] In: Boylston, S. Collage, Designing Sustainable Packaging.

London: Laurence King Publishing Ltd. Figure 1.6 Garcia, C. (2014). Torsten Sherwood, Noook Designer. [image] Available at: http://www.itsnicethat.com/ articles/designers-in-residence-3 [Accessed 16 Feb. 2015].

Figure 1.7 Hayes, L. (2014). Noook Double-Faced Disk. [image] Available at: http://www.torstensherwood.com/#!work/ c22hx [Accessed 16 Feb. 2015].

Figure 1.8 Hayes, L. (2014). Noook Structure. [image] Available at: http://www.torstensherwood.com/#!work/c22hx [Accessed 16 Feb. 2015].

Figure 1.9 inhabitat.com, (2014). The Universal Packaging System. [image] Available at: http://inhabitat.com/ingeniouscardboard-packaging-folds-to-fit-any-shape/ [Accessed 29 Jan. 2015].

Chapter 1 - Continued: Figure 1.10. Czerwinkski, M. (2010) UPACKS Flat Cardboard Sheet [Collage] In: Outside The Box: Cardboard Design Now. London: Black Dog Publishing Limited.

Figure 2.10 Delft University. (n.d.). Prof. Han Berzet. [image] Available at: http://www.io.tudelft.nl/en/organisation/personalprofiles/professors/brezet-jc/ [Accessed 19 Mar. 2015].

Figure 1.11. Ebrahim, A. (2015) UPACKS Folding System [illustration].

Figure 2.11 Berzet and Van Hemel. (1997). The EcoDesign Strategy Wheel. [Image] Available at: http://www.wikid.eu/ index.php/EcoDesign_strategy_wheel [Accessed 19 Mar. 2015].

Figure 1.12. Czerwinkski, M. (2010) UPACKS Standard Boxes [Collage] In: Outside The Box: Cardboard Design Now. London: Black Dog Publishing Limited.

Figure 1.13 Duchess France, (2014). Patrick Dixon. [image] Available at: http://www.duchess-france.org/usi-2014interview-with-patrick-dixon-take-hold-of-the-future-six-facesof-global-change/ [Accessed 24 Feb. 2015].

Figure 1.14 Studio Been, (2014). Wooden Textile. [image] Available at: http://www.whitemad.pl/elisa-strozyk-drewno-winnym-wydaniu/ [Accessed 23 Mar. 2015].

Chapter 2 Figure 2.1 Agrifoodgateway, (2014). Sustainability. [image] Available at: http://agrifoodgateway.net/how-to-grow-a-plant/ [Accessed 10 Mar. 2015].

Figure 2.2 Ebrahim, A. (2015). Sustainable Policies Guideline [illustration].

Figure 2.3 Coca-Cola Company. (2014). CocaCola Can. [image] Available at: http://www.coca-colacompany.com/ [Accessed 10 Mar. 2015].

Figure 2.4 Costa, D. (2013). Avarage Weight of Aluminium Cans Development. [image] Available at: http://www.ball.com/ innovation-lightweighting/ [Accessed 25 Feb. 2015].

Figure 2.5 Ebrahim, A. (2015). Volume of Packaging Waste Generated in UK. [illustration] from National Packaging Waste Database. Available at: http://www.keynote.co.uk/marketintelligence/view/product/11010/packaging--paper-%26-board ?highlight=postal+packaging&utm_source=kn.reports.search [Accessed 22 Feb. 2015].

Figure 2.6 Overbeek, W. (2010). Industrial Tree Plantation. [image] Available at: http://www.ejolt.org/wordpress/ wp-content/uploads/2012/06/EJOLT-Report-3-low1.pdf [Accessed 22 Mar. 2015].

Figure 2.7 Green Overdose. (n.d.). Green Overdose Logo. [image] Available at: http://greenoverdose.com/page/4/ [Accessed 22 Feb. 2015].

Figure 2.8 Evergreen. (2010). Plastic Bottles Waste. [image] Available at: http://blog.evergreenlv.com/tag/landfills/ [Accessed 22 Feb. 2015].

Figure 2.9 USI. (n.d.). Carolien Van Hemel. [image] Available at: http://www.usi.nl/?lang=en [Accessed 19 Mar. 2015].

90

Figure 2.12 Livingdesign.net. (2013). Tati Guimaraes. [Image] Available at: http://www.livingdesign.net.br/2013/08/bakuscriacao-da-designer-tati-guimaraes-chega-ao-moma.html [Accessed 25 Feb. 2015].

Figure 2.13 Agenciabridge.com. (2012). The Cavallum Wine Box. [Image] Available at: http://agenciabridge.com/en/ portfolio/tati-guimaraes-en/ [Accessed 25 Feb. 2015].

Figure 2.14 Agenciabridge.com. (2012). Cavallum Wine Packaging. [Image] Available at: http://agenciabridge.com/en/ portfolio/tati-guimaraes-en/ [Accessed 25 Feb. 2015].

Figure 2.15 Agenciabridge.com. (2012). Cavallum Lighting Box. [Image] Available at: http://agenciabridge.com/en/ portfolio/tati-guimaraes-en/ [Accessed 25 Feb. 2015].

Figure 2.16 Domestic Sluttery. (2011). Aimee Furnival.

[Image] Available at: http://www.domesticsluttery. com/2011/09/paper-penmanship-q-with-aimee-from.html [Accessed 22 Mar. 2015].

Figure 2.17. Czerwinkski, M. (2010) Postcarden [Collage] In: Outside The Box: Cardboard Design Now. London: Black Dog Publishing Limited.

Figure 2.18 Dezeen. (2010). Postcarden Package. [Image] Available at: http://www.dezeen.com/2010/03/07/postcardenby-a-studio-for-design/ [Accessed 22 Mar. 2015].

Figure 2.19 HarryQ. (2012). Postcarden Cress Seeds.

[Image] Available at: http://www.harryq.com/products/ postcarden-football [Accessed 22 Mar. 2015].

Figure 2.20 3dnatives.com. (2013). Dr. Conor MacComack CEO and co-founder of Mcor Technologies. [Image] Available at: http://www.3dnatives.com/limpression-3d-mcortechnologies-entretien-ceo-conor-maccormack/ [Accessed 20 Mar. 2015].

Figure 2.21 Calibas. (2011). Clear-cut Forests Near Eugene, Oregon [Image] Available at: http://wildhunt.org/2014/02/ checkerboards-clearcuts-and-controversies-the-history-andlegacy-of-the-oc-lands.html/1960211_10152229571848518_2 62341475_n [Accessed 22 Mar. 2015].

Chapter 3 Figure 3.1 Keeleyhire, (2015). Traditional red and black Royal Mail post box. [image] Available at: http://www.keeleyhire. co.uk/props/street_furniture/penfold_post_box [Accessed 21 Mar. 2015].

Figure 3.15 Packaging News, (2014). Paul Jenkins. [image] Available at: http://www.packagingnews.co.uk/comment/ soapbox/what-is-the-future-role-of-packaging-in-the-onlineworld/ [Accessed 28 Apr. 2015].

Figure 3.2 Post Office Shop. (2015). Post Office Merchandise. [image] Available at: http://www.postoffice.co.uk/get-bestvalue-from-your-postage [Accessed 23 Apr. 2015].

Figure 3.16 Bennett, A. (2013). Royal Mail Van. [image] Available at: http://i.huffpost.com/gen/1230476/images/oROYALMAIL-facebook.jpg [Accessed 23 Apr. 2015].

Figure 3.3 Apple, (2015). Apple reduction in packaging. [image] Available at: https://www.apple.com/macbook-pro/ environment/ [Accessed 23 Apr. 2015].

Figure 3.17 Zhang, Y. and Thonsgaard, I. (2013). Playful Flatpack Furniture Folds Like Origami. [image] Available at: http://www.zhangthonsgaard.com/index.html [Accessed 17 Mar. 2015].

Figure 3.4 Markdelfranco.com, (2014). Mark Del Franco. [image] Available at: http://www.markdelfranco.com/ [Accessed 18 Mar. 2015].

Chapter 4

Figure 3.5 Uline.com, (n.d.). Multi Depth Boxes. [image] Available at: http://www.uline.com/bl_407/multi-depth-boxes [Accessed 18 Mar. 2015].

Figure 4.1 Bloom Blanket, (2014). Bloom Blanket. [image] Available at: http://www.bloomblanket.com/ [Accessed 13 Jun. 2015].

Figure 3.6 Mhlnews.com, (2005). Clyde E. Witt. [image] Available at: http://mhlnews.com/transportation-ampdistribution/shipping-management-pallets-and-bugs-backfuture [Accessed 26 Apr. 2015].

Figure 4.2 Cargocollective, (2014). Translated Geometries. [image] Available at: http://cargocollective.com/ecetankal/ translated-geometries [Accessed 13 Jun. 2015].

Figure 3.7 Woolcool.com, (n.d.). Angela Morris. [image] Available at: http://www.woolcool.com/ [Accessed 27 Apr. 2015].

Figure 3.8 Woolcool.com, (2009). Woolcool Box. [image] Available at: http://www.woolcool.com/food/standard-range/ [Accessed 27 Apr. 2015].

Figure 3.9 Alter, B. (2009). Woolcool Pads. [image] Available at: http://www.woolcool.com/food/standard-range/ [Accessed 27 Apr. 2015].

Figure 3.10 Woolcool.com, (2009). Woolcool Range Boxs. [image] Available at: http://www.woolcool.com/food/standardrange/ [Accessed 27 Apr. 2015].

Figure 3.11 rca.ac.uk, (2014). Yu-Chang Chou. [image] Available at: http://www.rca.ac.uk/students/yu-chang-chou/ [Accessed 27 Apr. 2015].

Figure 3.12 Dezeen, (2014). Repack Online Package. [image] Available at: http://www.dezeen.com/2014/06/30/repackpackaging-return-reuse-yu-chang-chou-royal-college-of-art/ [Accessed 27 Apr. 2015].

Figure 3.13 Dezeen, (2014). Returning The Repack Package. [image] Available at: http://www.dezeen.com/2014/06/30/ repack-packaging-return-reuse-yu-chang-chou-royal-collegeof-art/ [Accessed 27 Apr. 2015].

Figure 3.14 Dezeen, (2014). Repack Functional Process. [image] Available at: http://www.dezeen.com/2014/06/30/ repack-packaging-return-reuse-yu-chang-chou-royal-collegeof-art/ [Accessed 27 Apr. 2015].

Figure 4.3 Planting Vegetables, (2015). Plantation. [image] Available at: http://www.plantingvegetables.net/ [Accessed 13 Jun. 2015].

Figure 4.4 Lee, A. (2011). LG’s Reusable Package. [image] Available at: http://seoulcolors.com/2011/01/lgs-awardwinning-reusable-package/ [Accessed 10 May 2015].

Figure 4.5 Pinapardo, (2012). Ron Resch. [image] Available at: http://pinapardo.com/tycho-hours-photos-from-ron-rescha-visionary/ [Accessed 20 May 2015].

Figure 4.6 Pinapardo, (2012). 3D Tessellated Structures. [image] Available at: http://pinapardo.com/tycho-hoursphotos-from-ron-resch-a-visionary/ [Accessed 20 May 2015].

Figure 4.7 Studio Been, (2014). Wooden Textile. [image] Available at: http://www.whitemad.pl/elisa-strozyk-drewno-winnym-wydaniu/ [Accessed 23 Mar. 2015].

Figure 4.8 Zhang, Y. and Thonsgaard, I. (2013). Playful Flatpack Furniture Folds Like Origami. [image] Available at: http://www.zhangthonsgaard.com/index.html [Accessed 17 Mar. 2015].

Figure 4.9 Pinapardo, (2012). Origami Tessellations. [image] Available at: http://pinapardo.com/tycho-hours-photos-fromron-resch-a-visionary/ [Accessed 20 May 2015].

Figure 4.10 Kueng, (2007). Foldschool. [image] Available at: http://pinapardo.com/tycho-hours-photos-from-ron-resch-avisionary/ [Accessed 28 May 2015].

Figure 4.11 Ebrahim, A. (2015). Refold Concept Sketches [Sketch].

Figure 4.12 Ebrahim, A. (2015). The Furniture Pieces of The Refold Concept [Sketch].

Figure 4.13 Studio Been, (2014). Wooden Textile By Elisa Strozyk. [image] Available at: http://www.elisastrozyk.de/seite/ woodentextiles.html [Accessed 23 Mar. 2015].

Figure 4.14 Flatout Frankie, (2014). Little Roar Head By Sarah Gardner. [image] Available at: http://www.flatoutfrankie. com/ [Accessed 28 May. 2015].

Figure 4.15 Black, T. (n.d.). Abe’s Market Building Blocks. [image] Available at: http://dontmesswithmama.com/kidsgot-cabin-fever-try-these-5-eco-friendly-toys-and-crafts/ [Accessed 25 May. 2015].

Figure 4.16 Zdomo.com, (2012). Green Laptop Desk. [image] Available at: http://dontmesswithmama.com/kids-got-cabinfever-try-these-5-eco-friendly-toys-and-crafts/ [Accessed 25 May. 2015].

Figure 4.17 Fogelson, M. (2012). Recycled Cardboard Block Set. [image] Available at: http://www.zdomo.com/News. aspx/T-1232 [Accessed 15 Mar. 2015].

Figure 4.18 Graas, D. (2009). Cardboard Lounge. [image] Available at: http://www.davidgraas.com/1976855-cardboardlounge#1 [Accessed 18 May. 2015].

Figure 4.27 Alquity. (2014). Growing [Image] Available at: http:/http://www.alquity.com/growing-attractiveness-of-nigeriain-the-middle-east/ [Accessed 25 Mar. 2015].

Figure 4.28 Pine Ridge. (n.d.). Planting [Image] Available at: http://www.pineridge.org/news/pastors-blog/lets-plant-trees [Accessed 25 Mar. 2015].

Figure 4.29 Illinois Natural History. (n.d.). Microscope Image of A Seed [Image] Available at: http://www.inhs.illinois.edu/ animals-plants/prairie/tallgrass/images/c [Accessed 25 Mar. 2015].

Figure 4.30 Michelle & Vincent Photography. (2012). Antelope Canyon [Image] http://www.mnv-photography.com/antelopecanyon [Accessed 25 Mar. 2015].

Figure 4.31 Ebrahim, A. (2015). Corrugated Cardboard With Seeds [Sketch].

Figure 4.32 Ebrahim, A. (2015). Forming New Tree [Sketch].

Figure 4.19 Lazerian Studio, (2010). Radiolarian Sofa. [image] Available at: http://design.fr/furniture/radiolarian-sofaby-lazerian-studio/ [Accessed 30 May. 2015].

Figure 4.30 Grow Organic. (2012). Soil Compost [Image] Available at: http://www.groworganic.com/organic-gardening/ articles/how-to-make-your-own-high-quality-compost-forcompost-tea [Accessed 30 Apr. 2015].

Figure 4.20 Williams, D. (2013). Nova Natural’s Handmade ‘Wooden LEGOs’. [image] http://www.inhabitots.com/novanaturals-handmade-wooden-legos/ [Accessed 27 Apr. 2015].

Chapter 5

Figure 4.21 Ebrahim, A. (2015). Rebuild Concept Sketches [Sketch].

Figure 4.22 Ebrahim, A. (2015). Pieces of The Rebuild Concept [Sketch].

Figure 4.23 Black, T. (n.d.). Abe’s Market Building Blocks. [image] Available at: http://dontmesswithmama.com/kidsgot-cabin-fever-try-these-5-eco-friendly-toys-and-crafts/ [Accessed 25 May. 2015].

Figure 4.24 Planting Vegetables, (2015). Growing Plant. [image] Available at: http://www.plantingvegetables.net/ [Accessed 13 Jun. 2015].

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Figure 4.26 Calibas. (2011). Clear-cut Forests Near Eugene, Oregon [Image] Available at: http://wildhunt.org/2014/02/ checkerboards-clearcuts-and-controversies-the-history-andlegacy-of-the-oc-lands.html/1960211_10152229571848518_2 62341475_n [Accessed 22 Mar. 2015].

Figure 5.1 Idsketching. (2009). Basic Marker Cube [Image] Available at: http://www.idsketching.com/toolbox/toolboxbasic-marker-cube/ [Accessed 13 May. 2015].

Figure 5.2 Thingiverse. (2013). Three-Parts Anchor Marker Cube [Image] Available at: http://www.thingiverse.com/ thing:66898 [Accessed 13 May. 2015].

Figure 5.3 Finework. (2014). Laser Cut Air Plane [Image] Available at: http://www.fineworks.tw/modules/xforum/ viewtopic.php?viewmode=thread&topic_id=46&forum=7 [Accessed 13 May. 2015].

Figure 5.4 Studio Make Do. (2012). Joinery Models [Image] Available at: https://studiomakedo.wordpress. com/2012/04/11/joinery-models-2-2/ [Accessed 13 May. 2015].

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Jackson, P. (2011). Folding techniques for designers.

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Mason, D. (2001). Experimental packaging. CransPrès-Céligny: RotoVision.

Paine, F. (1977). The packaging media. Glasgow: Blackie [for] the Council of the Institute of Packaging.

Sheppard, R., Threadgill, R. and Holmes, J. (1974).

Paper houses. New York: Schocken Books.

Wade, D. (1982). Geometric patterns & borders. New York: Van Nostrand Reinhold.

Wong, W. (1977). Principles of three-dimensional design. New York: Van Nostrand Reinhold Co. Yabuka, N. (2010). Cardboard book. Berkeley: Gingko Press.

Appendices

Appendix A

Participant Observation 29th December 2014 On the 1st of May, three post cards been sent from Birmingham to different counties on the world. As well as understand user experience, the aim of this research method is to measure and compare how long does it take for a parcel to reach a place and spot any damaged shows on the cards during its journey.

The first postcard is sent to Birmingham which is the same location which its been sent, the second one sent to Bahrain while the third one is to Canada.

The post card sent to Birmingham is the first one to reach its final destination. The card shows little scratches that are barely noticed.

While the card sent to Canada shows more scratches on its 7 days journey. However, the card that has been sent Bahrain shows more damage on its surface when received after 18 days.

As a result of this experiment, the longer it takes for a parcel to reach a place the more damage it shows on its surface even though it is only a card. However, this is not a enough evidence to prove this theory.

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Appendix B

Informal Interview 25th February 2015 Envirolite is one of the companies attending the Packaging Innovation Exhibition 2015 in NEC Birmingham, UK, which is specialized in sustainable and creative packaging solutions.

In informal interview with one of Evirolite team member in their stand, questions has been arise about their definition of sustainability and how is it aligned with the future of technology.

He however, pointed out to the fact that sustainability is not an easy subject to be defined in one sentence, “there are many factors that play a major role in changing the definition of sustainability such as time, location, material and transportation� he added.

Honeycomb cardboard is the material Evirolite is utilizing lately due to its significant strength, however he mentioned that this method requires using more material which lead to questioning its sustainability.

Appendices

Appendix C

Map of the three postcards route

User Experience 1st May 2015 The 1st of May, three post cards been sent from Birmingham to different counties on the world. As well as understand user experience, the aim of this research method is to measure and compare how long does it take for a parcel to reach a place and spot any damaged shows on the cards during its journey.

Birmingham - 4 May 15

The first postcard is sent to Birmingham which is the same location which its been sent, the second one sent to Bahrain while the third one is to Canada.

The post card sent to Birmingham is the first one to reach its final destination. The card shows little scratches that are barely noticed. While the card sent to Canada shows more scratches on its 7 days journey. However, the card that has been sent Bahrain shows more damage on its surface when received after 18 days.

Canada - 7 May 15

As a result of this experiment, the longer it takes for a parcel to reach a place the more damage it shows on its surface even though it is only a card. However, this is not a enough evidence to prove this theory.

Bahrain - 18 May 15

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Appendix D

User Experience 18th May 2015 Sending a real package is different from sending a postcard, on the 18th of may Post Office visit been made to send a cardboard package that contain a glass bottle inside from Birmingham to Birmingham. During the process a staff member came for assistant, a guideline have been given to use the self service and an opportunity of further questions.

Amal: Does the size of the package define the price of the service?

Staff: yes, size and weight.

Amal: Are there any other factors affect the price?

Staff: Yes, choosing first or second class does as well Amal: What is the difference between them?

Staff: First class guarantee an extra safety and speed for the package which is the external cost factor Amal: Does the weight of the package affect the delivery speed as well?

Staff: No no, only the price Amal: OK, thank you.

Royal Mail package cost 2.5 Pounds and the second class service cost 2 pounds. The parcel made its way to the final destination after three days with several damages shows on its surface while the glass bottle arrived safely.

Amal Ebrahim - 14137268 Birmingham City University 2015