Wasted Wanted

Gabrielle Patteron | 1

Gabrielle

by

wa s t e

Pat t e r s o n

world’s

by

produced

the

Inspired

wa s t e d

wa n t e d

Figure 1 (front page) organic waste bioplastic (Patterson, 2020) Figure 2 Organic waste heap (Smith, 2017)

co n t e n t s 05

Introduction

06

Author Biography

07

Discourses

10

E-What? E-Waste

12

The Restart Project

14

Ore Streams

16

Tear down

19

Reflection

20

Organic waste

23

Enquiry & intention

24

Organic Waste History

26

Organic Waste Now

28

Shellworks

30

Chip[s] Board

32

How do you like your eggs?

34

Basse Stittgen

36

Reflection

38

Mindmap

40

The Process

45

The Outcome

48

The Response

49

The Publication Process

50

Contribution

52

Conclusion

54

Bibliography

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Figure 3 Jardim Gramacho landscape with vultures (Muniz, 2010)

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introduction

The production of waste by humans is immense, in Australia alone it is estimated that sixty-seven mega tonnes were produced between 2016 and 2017 (Pickin, 2018). To better understand waste, it is broken up into several categories which are referred to as streams. Broadly, there is commercial & Industrial waste, construction & demolition waste and municipal solid waste.

Municipal solid waste is the waste that comes from households and is what this report centres around.

Municipal waste can be further broken down into plastics, metals, textiles and glass. This publication specifically focuses on e-waste in first section and organic waste in the second section. The aim is to address both the current situation concerning these specific waste streams and explore how they are being managed by both waste management processes as well as innovative design using waste. Ultimately through this piece the household waste problem should be clearly defined and solutions and opportunities to ease the burden of this evolving problems should be identified both through researching other solutions and attempting my own.

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au t h o r biography

Gabrielle Patterson is a second-year student at RMIT University studying a double Bachelor degree of Mechanical Engineering and Industrial Design. Born in rural Victoria, Gabrielle grew up in the small town of Benalla, which is known [by not very many] as the Rose city and claims to be the Street Art capital of Australia.

figure 4 Gabrielle Patterson (Patterson, 2020)

The quiet lifestyle associated with a country up-bringing lent itself to Gabrielle adopting numerous hobbies over the course of her first eighteen years; from rogue science experiments, cooking, screen printing and her personal favourite sewing among the numerous activities she tried her hand at. This fascination with figuring out how and why thing work coupled with the appeal of creating physical outcomes evolved into STEM and design based subject selection in her final years of high school and ultimately led to her choosing the degree which she now participates in.

After moving to Melbourne in 2019 Gabrielle has been increasingly exposed to different avenues of influence not only from her vocational studies but also from the opportunity to live and associate with people from different walks of life who admire/ are interested in different designers, artists and cultural/societal trends. Ultimately as a developing designer, an ever-evolving exposure is helping shape Gabrielle’s own interests and creative pursuits.

Other than design and future career related interests, Gabrielle is also passionate about sport and fitness, traveling and exploring and in this time of social distancing she has grown a deep appreciation for thinking. Gabrielle is aware that this last interest conveys a trivial and to a certain extent stupid, however, from all this solo time without the influence and to a certain extent; distraction of a fast paced world, she has really enjoyed the exploration and development of her own thought process.

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Figure 5 Fighting food with art (Andrei, 2017)

d i s co u r s e s

Discourses are something we talked about in great lengths throughout this semester whether it from the basics of establishing what exactly a discourse is, to the more complex of defining specific and relevant discourses for our research. I wanted to briefly document both what I learnt, and the specifics ones involved in this publication because it is not only relevant to defining some of the key points of exploration in this document, but the use and knowledge of discourse has also been a very useful development to me both as a student and more broadly as a future designer.

Firstly, I would like to define that a discourse is discussion or argument that is written or spoken surrounding a specific dissertation or exposition, in simpler terms it’s a conversation surrounding a particular topic.

Throughout this semester I was able to and to a certain extent contribute to a few discourses. These discourses included design with e-waste, the e-waste problem, organicwaste solutions, circular economy with organics to name a few. From learning about discourses, I grew to understand that they are almost always complex in the fact that they overlap with other discourses or contain sub-discourses within them. Ultimately to me the discourses I studied began to form a kind of web or interaction as they each informed, interfered and connected to one another which demonstrated to me the complex ecosystem of thought surrounding waste streams.

figure 6 Art from circuit boards (Sime, 2015)

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e - wa s t e

9 power adaptors

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1 MacBook pro 2014

1 computer mouse

16 metres of grey co

Gabrielle Patterso Figure 7 E-waste photo survey (Patterson 2020))

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e - w h at ? e - wa s t e

Key terms Built in obsolesce Lifespan Re-purposing E-waste waste stream Hardware ecosystem Above ground mining figure 8 PC lifespan trend 1992-2006 (Gershon, 2017)

figure 9 Lifespan Distributions of computer cohorts 1985-2000 (Babbitt, et.al., 2009)

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figure 10 Global personal electronics market by product, 2012 – 2020 [Million Units] (Grand View Research, 2014)

Technology has advanced at unprecedented rates over the past forty years and as a result of this rapid development there has consequently been a shortening of the lifespan of electronic goods (figure 8 & 10). When looking into data and case studies conducted about personal electronics (figure 9) it is evident that consumers are buying more electronics than ever before and the question that this data raises is “why?”. Are people buying into a new product or are they replacing/renewing old devices and if the latter, what is happening to the old?

Through this report I aim to investigate and explore how our society, ostensibly obsessed with chasing the new, is dealing with the waste that is a by-product of our seemingly capricious consumerism of electronics.

E-waste definition E- waste expands to electronic waste and is defined as electronic goods that are no longer working or in use.

Electronic goods are defined by the Victorian government as items that have a plug, battery or cord (Sustainability Victoria 2020).

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The r e s ta r t p r oj e c t

Figure 12 Restart at School in action with Restart volunteer teaching student (The Restart Project, n.d.)

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figure 11 Taking the design of a circuit board for inspiration – the operative heart of devices “Restarted Future” poster illustrates the life-force of a future, sustainable economy.

(The Restart Project, n.d.)

The Restart Project is a London based social enterprise re-imagining the future by teaching others how to extend the lifespan of their electronic. With the aim of the organisation ultimately being to reduce the amount of e-waste being generated by the world.

Figure 13 The Restart Project team are teaching that fixing your own electronics does not need to be scary (The Restart Project, n.d.)

Firstly, there is ‘Restart Parties” where people from the same community come together and teach each other ways to repair, update or fix old or broken electronics. With more than sixty groups in twelve countries, The Restart Project have championed a way to make repairing electronics fun and inclusive to a wide audience. Even by the simple measure of using the word “party” suggests an entertaining and welcoming atmosphere which encourages more people to feel it possible to get involved in the movement of repairing rather than discarding.

The second component of The Restart Project is their program; ‘Restart at School” which is targeted towards developing secondary school students’ skills in repairing and updating electronics. By collaborating with teachers and supplying materials and support The Restart Project have developed a comprehensive 10 week program that is brightening the worlds future, not only by equipping students with a range of transferable skills for future employment but also by reshaping the way young people perceive and consume electronic goods which will hopefully transcribe to a reduction to the enormous growth occurring in the e-waste waste stream going into the future.

figure 14, Sharing skills, organising events or fixing electronics is what happens at figure 5 (The Restart Parties are about.

Restart|Project, n.d.)

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ore streams

figure 15 Clear glass, digital print on aluminium computer cases (Trimarchi. et al., 2019)

Ore Streams was a 3-year investigation led by Formafantasma and commissioned by the NGV and the Triennial Milano into managing the world’s fastest growing waste stream, e-waste. Recognising the relatively uncharted territory towards recycling electronic goods, Ore Streams produced several diverse and insightful outcomes that offer an intelligent and considered reflection upon how the world consumes the planets precious metals in the form of electronics.

In the form of several types of media from video to physical objects, Formafantasma create a captivating storyline about the world’s consumption of electronics. Whether it their scary and truthful reflection about our over-consumption of the earth’s natural resources to produce electronics or their optimistic office furniture designs which champion the idea of above ground mining (recycling), they are able to find a balance between the problematic reality of the worlds e-waste but also the opportunity this presents designers to conjure something relevant and wanted from something that is no longer desirable.

At the core Formafantasma’s work on Ore Streams, is a series of questions posed to their audience about the origin, lifespan and hidden value of electronics and this articulates the greater message, put simply, that, more thought needs to be given to human consumption of resources.

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figure 16 iridescent car paint on CNC milled and folded aluminium and stainless steel (Trimarchi. et al., 2019)

figure 17 Chair from various components of a mobile phone (Trimarchi. et al., 2019)

figure 18 Details of desk cubicle (Trimarchi. et al., 2019)

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d o w n t e a r 16 | Wasted Wanted

Figure 19, Calculator tear-down (Patterson 2020)

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Figure 20, 21 & 22 Screenshots from presentation (Patterson,2020)

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REFLECTION

Looking at the old electronics that my family have kept, whether they were recreational or for work purposes I find myself torn between two mindsets. On one hand it is almost embarrassing how much of this ‘junk’ we keep in our back shed as we have no real intention to ever use it again because unfortunately I have to admit, we are participants in a consumeristic society and nine times out of 10 would buy new rather than replace with old. In my opinion, we do this for 2 reasons, firstly as technology has become an increasingly prominent fixture in our lives its seems justifiable to spend money on upgrading and secondly we prefer to have the most up to date model because it allows us to feel relevant in the constantly evolving electronic ecosystem.

On the other hand, by keeping this ‘junk’ and not discarding it to landfill we are left with an opportunity.

From conducting this investigation, I believe that this opportunity of an abundance of unused electronic equipment is widely found but scarcely recognised and that presents another opportunity. The ability of the design community to identify and act upon this opportunity is something I have found particularly interesting and it has made me reflect upon the roles and responsibilities of designers and how this transposes greater societal behaviour.

I believe the problem and solution to this e-waste debacle can to a certain extent lie in the hands of designers. If designers continue to design products with shortening lifespans and irreparable properties, consumers will continue to buy new time and time again. So, what if more designers harnessed this power to influence what consumers purchase and produce electronics that are repairable, that are longer lasting and that do have alternate deaths than the bin or the back shed.

E-waste is an ever-growing reality that many designers are continuingly finding ways to address. Optimistically I believe we are in a space that e-waste presents as more of an opportunity to take advantage of and to come up with radical solutions for rather than an unsolvable problem. From a design student perspective this investigation has increased my curiosity and has left me excited to see what I can possibly do with the box of e-waste that is sitting in my room.

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o r g a n i c

wa s t e

Figure 23 Cups and Plates made from discarded eggs, (Stittgen, 2019)

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where there’s food there’s wa s t e

figure 24 Municipal Waste in kg/capita from OECD 2011 data – Australia is highlighted as the 5th highest waste per capita (OECD 2016)

Key terms Municipal organic waste management Pro-environmental design behaviour Circular organic waste economy Compostable product design

Households produce waste and a lot of it, from figure 1 (OECD, 2016) is it plain to see people, across the world, are individually responsible for hundreds of kilos of waste each year. This is a statement that is easy to understand but it is quite difficult to visualise and comprehend the scale at which household waste is produced collectively.

Growing up in a high socio economic country with a relatively low population density, many Australians are privileged enough to consider household waste as out of sight and therefore out of mind and this is due largely to our extensive waste management systems which many of us take for granted. In my opinion, the effortless nature with which we dispose of our household waste promotes detachment and a lack of responsibility for our contribution. Which only heightens the potential outrage if our facilities and infrastructure such as landfill and recycling plants are no longer capable of processing the amount of waste, we are producing which is a feasible future (Australian Academy of Technology and Engineering, 2020) if the population continues to grow and our waste management habits remain unchanged.

So, what does this mean for the design community? Well as champions of opportunity, some designers such as James Plumb and Basse Stittgen, and brands including the likes of Nike and Patagonia, are seeking to take responsibility and ownership of their own and other households waste and the results are highlighting that many valuable outcomes can be produced from materials that are routinely rolled out to curb side.

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I aim to investigate, specifically the organic waste stream both in the way it is currently being managed as well as how designers are working with these decomposing materials. As one of the oldest waste streams known to mankind this report should explore the relationship between organic waste and humans. Ultimately, I hope to consider the adverse elements of this relationship and how designers are taking advantage of these negatives to create innovative products that challenge societies current interpretation of their relationship with organic waste.

e n q u i ry & intention

Primarily I hope to change my own viewpoint of organic waste. I have always perceived it as a relatively harmless and well managed stream, probably through the connotations or the word organic as well as believing that because it is biodegradable as soon as I disposed of it, it essentially disintegrates and is no longer a problem. I am aware that my original perceptions are ill-informed as organic waste like any waste stream is quite complex therefor, I am curious to develop my knowledge and ultimately adapt my thinking to understand the problems associated with organic waste as well as how good design can help alleviate these.

figure 25 Composting illustration (The New Yoriker, 2020)

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o r ga n i c wa s t e h i s to r y

figure 26 Pyrmont Incinerator Walter Burley GriďŹƒn (Total Environment Centre, n.d.)

figure 27 Global Municipal Waste composition (The World Bank, 2016) 24 | Wasted Wanted

figure 28 Buckles Wharf, Blackwattle Bay (Total Environment Centre, n.d.)

figure 29 Australian Landfill (The Environmental Report 2017)

ďŹ gure 4

Historically organic waste has been one of the largest waste streams coming from households as referenced by figure 27 (The World Bank, 2016) which illustrates composition of municipal waste from global data trends.

In ancient times, low population density living conditions meant that organic waste was reasonable well managed by being fed to animals or dumped outside of residential spaces for decomposition (William & Murphy 1992). Organic waste only began to become a problem at the onset of the industrial revolution due to population growth and large shifts to urban areas, it still accounted for the majority of household waste and there was more of it than ever before however, without the traditional means to dispose of it, it was piling up on city streets as well as being discarded in ditches and waterways (Barles, 2014). In early Australian settlements organic waste was primarily discarded in cesspits and sprinkled with lime or carbolic acid to aid with decomposition and the smell (Total Environment Centre, n.d.) but as cities and towns grew, they faced the same problems as the rest of the industrialised world. The growing waste problem promoted the spread of disease and as such organic waste was increasingly incinerated from 1847 onwards. After WWII landfill were progressively relied on as the primary disposal choice for organic waste (Total Environment Centre, n.d.).

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o r ga n i c wa s t e now

figure 30 Municipal waste generated & development indicators.

(Beigl et al., 2004)

figure 31 Municipal waste streams at different prosperity levels (Beigl et al., 2004)

Figure 32 Australian councils have been increasingly oering separated collection (Lake Macquarie council n.d.)

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Figure 33 Organic waste being converted to power in Victorian Plant (Bioenergy Australia, 2019)

In recent times Households continue to be the largest producers of organic waste, with figure 34 (Australian Bureau of Statistics, 2019) illustrating that households more than double the contribution of any other industry. In Australia alone households produced 7 mega tonnes of organic waste (between 2016-17) and this represents 51% of all household waste (Australian Berea of Statistics, 2019). I suspect this enormous production of organic is primarily due to two factors.

Firstly; by interpreting models done on major European cities, demonstrated in figure 31 (Beigl et al., 2004) we can see that the more prosperous a place is, the more waste they produce and by assessing the criteria for prosperity in figure 30 (Beigl et al., 2004) I would suggest Australia would rank very highly. Secondly and in direct correlation to prosperity, Australians have an increased access to food which promotes indulging in excess which ultimately leads to more waste.

On a positive note, Australian councils have been increasingly offering separated collection of organic waste and this have been done for two main reason.

Firstly, organic decomposition in landfill releases large amounts of methane into the atmosphere which enhances the greenhouse gas effect so finding alternative disposal is of paramount importance.

Secondly, organic waste has numerous recycling opportunities and in this new age of pro-environmental thinking it is becoming increasingly favourable. the most common ways the waste is being used is; bio-digesting it into methane to generate electricity as well as transforming it into compost and fertilizer, while these alternatives are more expensive than landfill disposal many of them are being funded through landfill levies (Australian Department of Agriculture, water and the Environment, 2017). These are promising steps to ease the burden of the growing organic waste problem and if we continue to innovate and develop in this sphere, we can not only resolve the waste problem but also find solutions for other problems i.e. renewable energy sources.

figure 34 Organic waste generation, by type, by industry, 2016-17 (Australian Bureau of Statistics, 2019) Gabrielle Patteron | 27

SHell worlks

Figure 35 The opacity of the material can be changed according to the product being made (Hitti, 2019)

Four design students have been able to transform crustacean shells into several different varieties of biodegradable plastics. The project produced a variety of outcomes including 5 separate machines which transform the waste shells into various forms of plastic which ultimately are the projects other outcomes. With products ranging from thin plastic bags, to planter pots to even anti-bacterial pill blisters (Jones, et al., n.d.) the group have been able to demonstrate a great diversity of results from a single, very specific waste stream; crustacean waste. The part that I found particularly significant about the project is that they designed the machines to be scalable for large manufacturing which ultimately conveys their underlying ambition that they believe ‘chitosan bioplastic could become a viable alternative for many of the plastic products we use today’ ,as quoted from interview with Hitti (2019)

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figure 36 The material has been used to make antibacterial blister packaging, food-safe carrier bags and self-fertilising plant pots (Hitti, 2019)

figure 37 The various machines the team invented to transform the crustacean shells (Hitti, 2019)

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Chip(s) B oa r d

figure 38 The circular economy infographic (Chip[s] Board, 2019)

figure 40 The material transformation (Chip[s] Board, 2019)

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Figure 39 The composite is heatpressed into a sheet of sturdy board that can be used for a variety of purposes (Hitti, 2018)

Minkley and Nicoll conceptualised Chip[s] board around the fundamentals of a circular economy and utilising un-used waste. By taking the mass of discarded potato peelings from McCain’s factories the pair then processed them until a binding agent is formed. This binding agent is then mixed with unrefined potato peels and heat pressed into sheet board which is alike traditional MDF. The dual layer of this design is that once the products manufactured from chip[s] board reach the end of their lifespan the goal is that they will be biodegraded into compost for the potato farms which produce the peels thus establishing a circular economy (Minkley, et al., n.d.).

I find this project inspiringly ambitious and as it is still in its early days of it conceptualisation I and interested to keep track at how easily they are able to sustain this circular economy, nevertheless the use of the potato peels perfectly demonstrates how organic waste can be repurposed.

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how d o yo u like yo u r eggs?

figure 41 Egg shell plates (Stittgen, 2019)

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A pioneer in the design from waste sphere, Stittgen most recent project from 2019 sees him take eggshells and egg whites from damaged and b-stock eggs and transform them into bioplastic homewares. The noteworthy aspects of this project include that nothing, but eggs are used to produce the product and the final outcome is completely biodegradable which differentiates it favourably from traditional plastics. This project is innovative in its attempt to point out the great waste produced from societies expectations of eggs, we like them a certain shape and a certain colour and so in asking the simple question; how do you like your eggs, Stittgen challenges us to interpret that the humble egg can be far more diverse than what we first assume.

Figure 42 Egg cups holders from egg shells (Stittgen, 2019)

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basse s t i t tg e n Stittgen is an extremely interesting designer as through his work he is able to make both critical and thoughtful statements and observations about the contemporary world. In all of his projects he subverts what is typically desirable whether it is by transforming the waste blood from abattoirs into solid objects, adding wheels to designs that are perfectly adequate stationary or as discussed above, using damaged/unwanted eggs to revolutionise plastic, Stittgen approach to design is unconventional to its core and conveys he’s overarching intention which is to remove artifice from design and present objects that, while complex in there symbolism are unadulterated physical statements.

Stittgen has declared that material has always been his greatest fascination and that the exploration of this is the motivation behind most of his designs. His approach to creating new materials is completely experimental and relies on firstly researching past uses of the materials. Then he investigates through trial, whether it be blitzing, melting or drying to explore how the material can be transformed, by looking at figure 12 (Fabrikaat, 2018) we can see the type of equipment Stittgen uses for investigation.

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figure 43 Boys on Wheels (Stittgen, 2017)

figure 44 Blood Related (Stittgen, 2017)

figure 45 Students with Stittgen to generate new materials at the ‘Multitude of Waste’ workshop (Nature Lab, n.d.)

For example, when using blood, he ended up discovering if you dried it to a powder, which is already done to produce black pudding (research into existing use) and from here he heats presses it into a plastic like polymer (Frearson, 2017).

His design methods caught the interest of many and as such he has been able to conduct workshops around the world about exploring and manipulating waste materials as demonstrated in figure 11 (Nature Lab, n.d.)

Ultimately the underlying ideas in Stittgen’s recent work is to dissolve stigma and draw attention to waste streams that are somewhat hidden by the industries that predominantly produce them, and this circles back to his design intention which is to provide truth through design.

figure 46 Stittgen equipment setup for his ‘Wasted Away’ workshop (Fabrikaat, 2018)

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reflection

figure 47 food waste (Reider, 2018)

From researching the designs coming from the organic waste stream it is clear that most designers are conceptualising products from quite fundamental observations, that is, they notice an undesired by-product of food consumerism and find a way to repurpose and manipulate this by-product into something of value.

Therefor in taking inspiration from designers already contributing to lessening the impact of organic waste, I believe a good starting point is to observe/notice an organic waste product that is perceived unusable by common beliefs i.e. banana peel, tea bags, apple cores. From here the challenge begins, what properties can be extracted or manipulated from this waste to produce something of value, and in this step, it is important to analyse what the world finds valuable. I believe this is the crucial element as it stops designers producing something that is ultimately, still ‘waste’ if no one wants it.

The designs I researched proved successful as they found alternative ways to produce products people are already consuming and this essentially defines a nice circular narrative. The reason the waste problem exists is because of indulgent consumerism, so how can we take advantage of this consumerism for the better? By providing a more pro-environmental product, that funnily enough comes from past consumerism.

The final element of this circular narrative is that products made purely from organic waste are still compostable at the end of their lifespan and this means they can either return to the soil to nourish the growth of more organic material and/or produce methane that can generate electricity. With both outcomes contributing back to other stages in the narrative. The difficult aspect that designers face in constructing this circular narrative is ensuring it all links together as it takes significant resources to ensure that the materials remain in the cycle. However, with advancements in infrastructure it is becoming increasingly more feasible to operate circular economies successfully.

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After exploring several avenues of research, I would say I have successfully altered my perspective on organic waste. I appreciate that it presents a significant environmental problem as its decomposition releases harmful methane into the atmosphere but that with greater advancements and investment in infrastructure it is increasingly being used to make compost and to generate electricity, which presents that many positives can come from appropriately managing this waste stream .

From a designer’s perspective I’ve come to appreciate that organic waste has great potential to be manipulated into several products that are not only useful but decomposable at the end of their lifespan which if appropriately disposed of, prohibit them from further contributing to the waste problem. All in all, I would say that while there are feasible solutions for organic waste without the intervention of design, products designed from organic waste allow consumers to reconnect with their waste which ultimately increases societies awareness and accountability to the waste they produce.

figure 48 Cutting Down on Food Waste (Galst, 2015)

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mindmap for design ac t i o n

CAULIFLOWER CAULIFLOWER TEA BAGS LEAVES LEAVES CAULIFLOWER LEAVES

BANANA PEELS BANANA PEELS

BANANA APPLE PEELSCORES APPLE CORES

HERB TEA BAGS ROOTS

HERB ROOTS

HERB ROOTS

TEA BAGS

COFFEE APPLE GROUNDS CORES

COFFEE GROUNDS

COFFEE GROUNDS

LAM

READILY AVAILABLE ORGANICORGANIC READILY AVAILABLE WASTE INWASTE MY HOUSEHOLD IN MY HOUSEHOLD READILY AVAILABLE ORGANIC WASTE IN MY HOUSEHOLD

POTS, GLASSES/ PLATES AND SPECTACLES CUPS POTS, GLASSES/ PLATES AND SPECTACLES CUPS

GLASSES/ SPECTACLES

SIMPLE SIMPLE JEWELLERY FURNITURE FURNITURE PACKAGING PACKAGING DESIGN I.E. USING USING DESIGN DESIGN EARRINGS, SIMPLE WOOD LIKE WOOD LIKE JEWELLERY NECKLACE FURNITURE MATERIAL MATERIAL PACKAGING DESIGN I.E. USING DESIGN EARRINGS, WOOD LIKE NECKLACE MATERIAL

ORGANIC WA ORGAN DESIGN SOLUT DESIGN ORGANIC WA PLAN P DESIGN SOLU POTS, ELASTIC ELASTIC PLAN PLATES AND BANDS BANDS CUPS

ELASTIC BANDS

JEWELLERY DESIGN I.E. EARRINGS, NECKLACE

POTENTIAL POTENTIA FINAL PRODUCT FINAL PROD POTENTIAL IDEAS IDEAS FINAL PRODUCT IDEAS 38 | Wasted Wanted

MIX WITH MIX WITH MIX WITH ACRYLIC/ ACRYLIC/ ACRYLIC/ ACRYLIC ACRYLIC LIKE ACRYLIC LIKE LIKE BLITZ BLITZ SUBSTANCE SUBSTANCE SUBSTANCE

DRY OUT DRY INOUTDRY IN OUT IN OVEN OVEN OVENBOIL MINATE LAMINATE LAMINATE

BOIL

CAPTURE CAPTURECAPTURE GAS AND GAS AND GAS AND USE IT TO USE IT TO USE IT TO BLITZ BLOW BLOW BLOW GLASSGLASS LIKE LIKE GLASS LIKE SUBSTANCE SUBSTANCE SUBSTANCE

BOIL DECOMPOSE DECOMPOSE DECOMPOSE

HOW HOW TO EXPLORE TO EXPLORE HOW TO EXPLORE MATERIAL MATERIAL MATERIAL

ASTE WASTE NIC WASTE TION LUTION N SOLUTION N PLAN

POTENTIAL POTENTIAL MATERIAL MATERIAL POTENTIAL MATERIAL PROPERTIES PROPERTIES PROPERTIES

PLASTIC PLASTIC PLASTIC WOOD/MDF WOOD/MDF WOOD/MDF RUBBER RUBBER LIKE LIKE RUBBER LIKE LIKE LIKE LIKE LIKE LIKE LIKE

AL DUCT

FLIMSY, FLIMSY, FLIMSY, CERAMIC CERAMICCERAMIC THICK,THICK, SOLID SOLID THICK, SOLID SINGLESINGLE USE USE SINGLE USE LIKE LIKE LIKE DURABLE/ DURABLE/ DURABLE/ REUSABLE REUSABLE REUSABLE

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the Process Inspired by Stittgen’s approach to the exploration of waste I began an investigation of my own. Initially I researched pre-existing techniques and practices that individuals are using to transform organic material. I discovered that organic waste is relatively easy to transform into bioplastic with the introduction of a few ingredients. From the various videos I watched including those in figure 49, 50 and 51, I deduced that the general premise of the additives is a starch of some sort i.e. potato or corn, an acid i.e. vinegars or lemon juice and lastly a form of glucose or glycerine. The way that these additives are incorporated with the organic varies sometimes the waste is boiled, sieved and mixed with additives other times its dried out and blitzed to a powder and incorporated to add fibre to the other ingredients.

figure 49 Banana bioplastic video screenshot (Massetti, 2018)

figure 50 watermelon bioplastic video screenshot (Sk, 2018)

figure 51 orange bioplastic video screenshot (Barroni, 2018) 40 | Wasted Wanted

figure 52 Household organic waste collection (Patterson, 2020)

In a true experimental fashion, I decided to take inspiration from these but not follow and specific recipe or procedure exactly. I did this for a number of reasons, firstly all the recipes used one specific type of organic waste for example the bio plastic was made purely from banana skins or orange peels and I did not want to follow this because currently I only live with one other person so within our household organic waste stream there is not substantial amounts of one specific food, furthermore I thought it was unprincipled to generate specific types waste for the pure purpose of this investigation so I thought it was better use the mix of what I had. This mix included materials such as eggshells, banana peels, celery, broccolini stalks, onion skins and others. Secondly, I decided that more beneficial learning would occur if I discovered my own procedure especially as I was not using the exact same ingredients as those I had researched before, therefore the entire process was one of ‘feeling it out’ and making decisions on the go to get to the final outcome.

To initiate the experiment, I wanted to incorporate all the ingredients in a homogenous mixture. I collected all the organic waste from a regular week in our household, figure 52 and incorporated it in a blender figure 54. I added a splash of water to help with the blending process, but I did not want to add too much because ultimately, at the end of the process I knew that a drying process would have to take place and to limit this I wanted to add as little water along the way as possible.

figure 53 placing waste in blender (Patterson, 2020)

figure 54 Blended waste (Patterson, 2020)

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the Process After the blending process it was found that there was roughly 105 grams of material and it resembled a thick sludge. I found the consistency very interesting, there was a certain grittiness which I put down to the egg’s shells and the coffee grounds, but it was also quite fibrous which I correlated to the celery and the banana skins. I put the mixture onto the stove and started trying to cook off some of the liquid. After this I started adding a combination of corn flour, vinegar and sugar and cooked it into the mixture. I do not know the exact amounts because I just added more of each ingredient when I saw fit and judged the changing consistency.

While this method was not extremely scientific, I approached it more from a cook’s perspective, I knew vaguely the consistency I was after and added the supplementary ingredients accordingly.

figure 55 blended waste mass (Patterson, 2020) figure 56 cooking off the liquid (Patterson, 2020)

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Figure 57 Addition of cornflour, vinegar and sugar (Patterson, 2020)

figure 58 cooling process (Patterson, 2020)

figure 59 Rubbery texture forming (Patterson, 2020)

figure 61 molding around bowl (Patterson, 2020)

figure 60 flattening mixture between greace proof paper (Patterson, 2020)

I poured the mixture onto some grease proof paper to let it cool slightly, figure and was surprised that a rubbery texture was starting to form almost immediately, figure. After it was cool enough to handle, I moulded it into various tableware forms and tried to use different techniques in order to asses which works best for this material that I have never experienced before. It was easiest to roll/squish it flat between grease proof paper and it was more difficult to hand mould around the bowls and this was because the material was so sticky that once it got on your hands it stuck more to them than to the mould (i.e. the bowl or cup) and this left an uneven and patchy finish. I did discover a way to overcome this ‘sticky situation’ and it was with damp hand so by wetting my hands it helped it stop sticking and allowed me to smooth get a smooth finish.

figure 62 smooth finish (Patterson, 2020) Gabrielle Patteron | 43

Figure 63 Final forms drying out (Patterson, 2020)

the Process

I made several different forms including bowls, cups and plates with the ultimate goal of making a sort of dinner type set. I let the pieces dry out overnight, so roughly 8 hours and the material did fully congeal to a jelly like consistency, but it was in no way fit for purpose as it was still easy to tear and deform.

Subsequently I decided to dry the objects in the oven to see if it would speed up the process and drastically change the set consistency. I put the oven on a low temp and placed the forms in the oven for 3 hours. I checked on the items and the outsides were an optimum solidness. However, when removing the moulds of the bowl and the cup I discovered two things.

Firstly, with the bowl, which had slightly thicker walls had condensation on the interior walls so would need to be redried out to get the internal side of the bowl to the desired consistency.

Secondly, with the cup, which had thinner walls, had dried out too much and when it came to removing the mould the bio-plastic had contracted to the point that it was not removable without breaking it off in segments.

This brought me to conclude that when using moulds there is an optimum, medium point where the mould is removable, but the structure is solid enough that it will not collapse when it goes in for a second firing to dry out the interior.

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Figure 64 baking forms in oven (Patterson, 2020)

the o u tc o m e

Figure 65 Final outcomes (Patterson, 2020) I would say that the final outcome was pretty successful as I ultimately was left with some useable pieces of table ware. The bowl did some holes in it as the bio-plastic kind of slipped down due to gravity in the baking process so is not fully equipped to hold liquid, however, alternatively it can hold solid foods like chips or M&Ms and it could alternatively be used for keys of a candle holder. The rest of the outcomes- bar the cup which shattered, were quite successful and usable. The thing that I was most surprised about is that the material didn’t have a strong odour, this was one of my concerns when I started because there was a strong smell of celery and I thought this would make it unappealing, however, in the drying process it largely went away.

From observing this final outcome, I believe that this material could be a viable alternative to single use plastic-ware or paper-ware with some further development of course. I believe that factor that makes this bioplastic tableware ‘better’ than pre-existing single use tableware is that firstly it is made from material that is usually wasted and secondly it is a fully compostable which means it will naturally degrade and can help nourish the growth of more organic material for consumption. Which allows a circular economy to be established. Obviously to upscale this design it would need to be refined quite significantly and for a circular economy to be established, certain infrastructure and procedure would need to be further considered. However, I do believe that my experimentation was able to show that mixed organic waste can be appropriate for bioplastic, which saves on time and money because it eliminates the need to sort the organic waste, which would be required for the other bioplastic approaches I researched.

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Figure 66, Final outcomes in use (Patterson 2020)

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the response I thought it would be interesting and useful to gauge an understanding of how the rest of the world would respond to the organic waste tableware I produced as it would give me greater insight into the potential response if it ever made it to market. Firstly, I would like to recognise the flaws in my sample group, as I uploaded it on my social media, I therefore got the response of my followers, which ultimately represents a very specific demographic of people. However, I do believe to a certain extent, this demographic is the one, that from a marketing perspective would be a primary target for ‘environmentally friendly single use tableware.’ If this association is unclear, it is because I primally associate with people between the ages of 18-25 who live in Melbourne, go to climate rally’s, yet still shop at H&M and drive cars in scenarios where walking would be acceptable. My point being and it is in no way a criticism, is that many of my associates care about the environment but need easy, convenient and relatively cheap options that aid in bettering it, which is a brief I believe my bioplastic could be able to fulfil.

The parts of the design I decided to share included the initial blitzing of waste and the final product. When it came to blitzing the waste, it was interesting to discover that there were to main trains of thought. On one hand there were those who found it utterly repulsive, I got comments such as ‘I’m going to vomit,’ ‘it’s kinda gross,’ ‘that was scary,’ ‘this distressed me’ and I found this intriguing because from my perspective all the items whether it eggs, bananas, onions, at one point in time were not gross and people would interact and touch them willingly but there is a turning point when the product loses its usefulness as food, that the remnants turn into something that is perceived ‘gross’ and that in my opinion is really strange. I think to a certain extent this is a large problem our society has with waste because we are so unattracted to it as a concept that it makes it difficult for people to use or even associate with it, without squirming with disgust.

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Figure 67 Screenshot from Instagram post (Patterson, 2020)

Alternatively, on the other hand there were those indivuals who found the process, ‘EPIC,’ ‘The masterpiece I didn’t know I needed’ and ‘beautiful’ and from these responses I interpreted that they saw a humour and wackiness to the experimenting. I believe this is the kind of mindset that I believe should be associated with waste, it should be seen as a wacky, beautiful and useful resource because then we can take advantage of the opportune material.

The presentation of the final product was more universally accepted. People could understand the reason behind the previous blitzing and were both surprised and interested in the concept that waste could be transformed in such a manner and funnily enough some were just thrilled that the blitzed mixture was not a weird smoothie that I planned on drinking.

The level of response I got for this post was unusually high which showed me that people are interested in waste whether they thought it was gross or cool. I also found that when I took the time to explain what I was doing, people began to see the waste from a renewed perspective with comments like ‘I can see a certain poetry behind that’ and ‘I never thought that would be possible.’ Ultimately by receiving the public’s response I was able to gauge and appreciation of the stigma surrounding waste and also to a certain extent raise awareness of the power waste has as a useful resource.

the p u b l i c at i o n process To publish this document there were certain elements I wanted to balance to make it a successful outcome. In my opinion, the factors that need to be considered include content, layout, visuals and clarity.

Firstly, in regard to content, which in this case was predominantly written for the previous assignments needed to be structed in a certain way for this style of publication which most closely resembles a magazine. I believe in order for the it to be easy and pleasant to read, the content needs to divide into sensible, smaller sections which will make it digestible and easy to follow by readers. Initially, I did this by putting the paragraphs from my other reports on a page each and then I further split some of the larger paragraphs so that the text does not appear as a large, somewhat unappealing chunk.

Another way to break up the text is with the addition of visuals. The visuals, which again were predominantly sourced from my previous reports, should be relevant and therefor referred to in the text to contextualise them and inform them.

Additionally, the visuals should include a small caption which readers can use quickly grasp the context without reading the entire article. Lastly and probably obviously the visuals should be of a certain and consistent quality so that maintain a standard in the report.

Both the content and the visuals need to be combined in way that is aesthetically pleasing and establishes a certain hierarchy which enables the reader to digest the information in the order the designer, that is me, intended. To balance the aesthetic and the hierarchy I relied on grids and blank space.

The grids helped with the positioning and dimensioning of the text and the visuals and also helped me see where to include blank space. With the blank spaces giving some breathing room to the page aiding in balancing the aesthetic of the page.

The ultimate aim of using the grids and the blank spaces was to give the publication clarity and visual interest. I did place some images across the spreads, and this left the potential for them to become unclear if physically printed and produced in magazine format as certain parts of the images disappear into the centre crease. However, from looking into other magazines many include images across spreads and to overcome this problem the image is duplicated and split at the crease and then moved outward from the crease to the gutter so that none of the information is lost in the abyss of the crease see figure 68 and 69.

figure 68 Content near spine (Wakefeild, n.d.)

figure 69 image across spread (Flipsnack, n.d.)

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co n t r i b u t i o n Through my exploration and investigation of both e-waste and organic waste I have been able to contribute to the design fields and discourses surrounding them as well as being able to provide commentary in the broader sphere of waste management and design opportunities in waste. The impact and effect of my personal contribution to these fields, is to a certain extent undiscernible due to the ever-increasing saturation of content within them. However, I believe that any increase in attention and discussion around design from waste is a step in the right direction as it furthers the reach of the fields unifying message, which is to find use in the materials too many of us frivolously dispose of.

By partaking in this class, I believe I have been able to contribute in a few different and distinct ways. Firstly, through my research and documentation I have been able to generate a significant contribution in the form synthesised information. This information has various attributes but mainly it is able to maintain a discussion that balances; evidence from what I believed trusted sources, with analysis and exploration from my own train of thought. The extent to which this information serves a useful purpose in the design fields I studied, is left to the determination of the reader. Therefor my responsibility as the producer is to give the information as much of an opportunity to be digested and to also present it in a fashion that gives me as an author credibility. I believe that credibility can be gained from presentation and that is why, in this publication I have aimed to produce a professional, well sourced and sophisticated piece so that it has a greater capacity to contribute effectively when it is released for viewing.

Secondly through my actions and interventions I have been able to produce personal and unique physical experiments which contribute to the development of ideas and concepts within the design from waste field.

In the first section of e-waste both the posters that were produced offered personal reflection of e-waste in my life and this contributes more broadly to the e-waste design field as it seeks to evoke a realisation in viewers, that like me, they probably have a significant stockpile of e-waste too. And through this commonness, hopefully a greater, personal accountability for electronic consumption and wastefulness is spread.

In the second section on organic waste, my experimentation and transformation of the organic waste manifested as an initial prototype for single use bioplastic tableware. The specific and unique contribution this makes to the organic waste field is quite broad. As mentioned in the process section I used combined waste to form the bioplastic and from my research I had not found this done before so in this instance I was able to contribute a new information of how organic waste can be repurposed. Furthermore, by documenting the trials, tribulations and successes of the experiment I enable others the opportunity to learn develop and adapt upon the work I have done, just as I did in taking inspiration from Basse Stittgens investigation process and other people adaptations of bioplastic. Ultimately this summarises my point, that through research, documentation, investigation and action you can significantly contribute to both broad and specific design fields any addition has the potential to guide, inspire or discredited by another addition and that is what sustains the evolution of design.

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Figure 70 Banana waste contribhuted to the final biowaste model (Patterson, 2020)

Apart from my contribution to the design fields, my work this semester has also significantly contributed to my learning experience. Before commencing my second year I had limited knowledge and interest in the design from waste sphere, however from the various assignments that involved both research and action I can happily say that I am not only more informed in this area but also highly interested. I believe this can be credited to the fact that while the research was broad and covered quite substantial amounts of infomation to do with waste streams, the action and analysis was based largely around the waste existent in my own life. The premise of this is that it scaled this large and oftentimes incomprehensible waste problem to a very individual level, and allowed me to realise I was a major stakeholder in the problem and led to me thinking what is stopping be being a part of the solution?

As I am only in the second year of 6-year degree I know that I am quite impressionable when it comes to potential career pursuits or design opportunities and I would say to a certain extent this class has fed my impressionable enthusiasm and I have become quite passionate about the stigma surrounding waste and also quite inspired by those who use it as a valuable resource.

In a broader sense, I would say that the greatest contribution this class has had to my learning is that it heightened my awareness of the complex interaction of ideas, arguments and discussion that can surround a particular concept, which I hope is something I do not lose sight of. During this unconventional semester I feel like this message has been emphasised even more so, because despite being physically distanced, our ideas, thoughts and actions still have the capacity to interact, influence and network.

Figure 71 image data contributions to e-waste feild (Patterson, 2020)

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figure 71 Organic Waste bioplastic in use (Patterson, 2020)

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c o n c lu s i o n

By producing this document, I have been able to create succinct yet detailed representation of my learning over the course of this semester in Waste Streams. I have, for the most part, thoroughly enjoyed partaking in this course and I think this enjoyment can be aligned with the fact that I found the learning stimulating as both a student and a future designer.

From researching and analysing I was able to become informed on issues to do with waste I did not fully know the extent of previously. By appreciating these problems, I became aware of others are attempting to navigate the opportunity that the problems create and find ulterior uses for waste. Finally, I personally, was able to take advantage of the opportunity the organic waste presented in my home to produce my own solution.

Overall the steps, actions and learnings from this semester have taught me to seek and research opportunities and possibilities in unusual places.

Initially I had no idea the potential of waste, not only have I grown to appreciate its possibilities as a resource, I have ultimately adjusted my relationship to it. I no longer view it with a disgust and disconnect but with a fascination and accountability and I look forward to working with it again in the future.

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Hitti, N. (2019, May 3). Basse Stittgen gives discarded eggs new life as bioplastic tableware. Dezeen. https://www.dezeen. com/2019/05/03/basse-stittgen-bioplastic-design/ https://www.tabletmag.com/sections/food/articles/passover-foodwaste Jones, E., Jafferjee, I., Afshar, A., & Edwards, A. (n.d.). Not your ordinary plastic. The Shellworks. https://www.theshellworks.com/ Kang. H.Y., & Schoenung. J.M., (2005). Electronic waste recycling: A review of U.S. infrastructure and technology options. Resources, Conservation and Recycling. 45(4): 368-400.

Massetti. M. (2018). Banana bioplastic.https://www.youtube.com/ watch?v=ielBPntT5W8 Minkley, R., & Nicoll, R. (n.d.). About Us. Chip Board. https://www. chipsboard.com/about-us Nature Lab. (n.d.). Biodesign: From Inspiration to Integration. https:// naturelab.risd.edu/discover/biodesign-from-inspiration-to-integration/ OECD. (2016). Municipal Waste indicator. https://data.oecd.org/ waste/municipal-waste.htm

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Restart Project. (2013). About the Restart Project. https://therestartproject.org/ Sime. E. (2015). In Sprawling Panels, Ethiopian Artist Elias Sime Recycles the First World’s Circuit Boards. https://www.artsy.net/article/artsy-editorial-in-sprawling-panels-ethiopian-artist-elias-sime-recyclesthe-first-world-s-circuit-boards Sk. O. (2018). watermelon bioplastic video screenshot .https://www. youtube.com/watch?v=Ql9J84zmMAU Stittgen, B. (2017). Blood Related. Studio Basse Stittgen. https:// bassestittgen.com/Blood-Related Stittgen, B. (2017). Boys on Wheels. Studio Basse Stittgen. https:// bassestittgen.com/Boys-on-Wheels

Stittgen, B. (2019). How do you like your eggs?. Studio Basse Stittgen. https://bassestittgen.com/How-do-you-like-your-eggs Stittgen, B. (n.d.). Studio- Info. Studio Basse Stittgen. https://bassestittgen.com/Info-2 Sustainability Victoria. (2020). What is E-Waste?. Victorian state Government. https://www.sustainability.vic.gov.au/Campaigns/eWaste/ What-is-ewaste.

The New Yorker. (2020). How South Korea Is Composting Its Way to Sustainability.https://www.newyorker.com/magazine/2020/03/09/ how-south-korea-is-composting-its-way-to-sustainability The World Bank. (2016). Trends in Solid Waste Management https:// datatopics.worldbank.org/what-a-waste/trends_in_solid_waste_ management.html Total Environment Centre. (n.d.). History of Waste. http://www.wastenot.org.au/history-of-waste/ Trimarchi. A., & Farresin. S. (2019). Ore Streams,. Formafantasma. http://www.orestreams.com/.

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List of’ figures Figure 1 front cover image Figure 2 Organic waste heap Figure 3 Jardim Gramacho landscape with vultures Figure 4 Gabrielle Patterson Figure 5 Fighting food with art Figure 6 Art from circuit boards Figure 7 E-waste photo survey Figure 8 PC lifespan trend 1992-2006 Figure 9 Lifespan Distributions of computer cohorts 1985-2000 Figure 10 Global personal electronics market by product, 2012 – 2020 [Million Units] Figure 11 Taking the design of a circuit board for inspiration – the operative heart of devices “Restarted Future” poster illustrates the lifeforce of a future, sustainable economy.

Figure 12 Restart at School in action with Restart volunteer teaching student Figure 13 The Restart Project team are teaching that fixing your own electronics does not need to be scary Figure 14, Sharing skills, organizing events or fixing electronics is what happens at Restart Parties are about.

Figure 15 Clear glass, digital print on aluminium computer cases Figure 16 iridescent car paint on CNC milled and folded aluminium

and stainless steel Figure 17 Chair from various components of a mobile phone Figure 18 Details of desk cubicle Figure 19, Calculator tear-down Figure 20, 21 & 22 Screenshots from presentation Figure 23 Cups and Plates made from discarded eggs Figure 24 Municipal Waste in kg/capita from OECD 2011 data – Australia is highlighted as the 5th highest waste per capita Figure 25 Composting illustration Figure 26 Pyrmont Incinerator Walter Burley Griffin Figure 27 Global Municipal Waste composition Figure 28 Buckles Wharf, Blackwattle Bay Figure 29 Australian Landfill Figure 30 Municipal waste generated & development indicators.

Figure 31 Municipal waste streams at different prosperity levels Figure 32 Australian councils have been increasingly offering separated collection Figure 33 Organic waste being converted to power in Victorian Plant Figure 34 Organic waste generation, by type, by industry, 2016-17 Figure 35 The opacity of the material can be changed according to the product being made Figure 36 The material has been used to make anti-bacterial blister packaging, food-safe carrier bags and self-fertilizing plant pots figure 37 The various machines the team invented to transform the crustacean shells Figure 38 The circular economy infographic (Chip[s] Board Figure 39 The composite is heat-pressed into a sheet of sturdy board that can be used for a variety of purposes Figure 40 The material transformation Figure 41 Egg shell plates Figure 42 Egg cups holders from eggshells Figure 43 Boys on Wheels Figure 44 Blood Related Figure 45 Students with Stittgen to generate new materials at the ‘Multitude of Waste’ workshop Figure 46 Stittgen equipment setup for his ‘Wasted Away’ workshop Figure 47 food waste Figure 48 Cutting Down on Food Waste Figure 49 Banana bioplastic video screenshot Figure 50 watermelon bioplastic video screenshot Figure 51 orange bioplastic video screenshot Figure 52 Household organic waste collection Figure 53 placing waste in blender Figure 54 Blended waste Figure 55 blended waste mass Figure 56 cooking off the liquid Figure 57 Addition of corn flour, vinegar and sugar Figure 58 cooling process Figure 59 Rubbery texture forming Figure 60 flattening mixture between greace proof paper Figure 61 molding around bowl Figure 62 smooth finish Figure 63 Final forms drying out Figure 64 baking forms in oven Figure 65 Final outcomes Figure 66, Final outcomes in use Figure 67 Screenshot from Instagram post Figure 68 Content near spine Figure 69 image across spread Figure 70 physical contribution to organic waste feilds Figure 71 image data contributions to e-waste feild (Patterson, 2020)

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