Sustainable Material Infographic

S U S TA I N A B L E M AT E R I A L INFOGRAPHIC

TABLE OF CONTENTS Authors Biography ........................................................................................................5 Introduction ...................................................................................................................5 TASK 1 ...........................................................................................................................7 Abstract .............................................................................................................................................................7 Keywords ..........................................................................................................................................................7 Introduction ......................................................................................................................................................8 Method ..............................................................................................................................................................8 Discourses ........................................................................................................................................................9 Case Study 1 - Buckminster Fuller ...............................................................................................................10 Case Study 2 - Studio Formafantasma ........................................................................................................13 Case Study 3 – Jonas Edvard .......................................................................................................................14 Research intentions .......................................................................................................................................19 Design research proposition........................................................................................................................20

TASK 2 .........................................................................................................................22 Abstract ...........................................................................................................................................................22 Definitions of sustainable materials ............................................................................................................23 Current definition .......................................................................................................................................23 Other sustainable standards ........................................................................................................................24 Case study 1 - EU energy efficiency label ..................................................................................................26 Case study 2 – The Nordic Swan Ecolabel ..................................................................................................27 Analysis ...........................................................................................................................................................28 Reflection ........................................................................................................................................................ 32 Conclusion......................................................................................................................................................33

TASK 3 .........................................................................................................................34 Contribution to the design field ..................................................................................................................36 Example 1 Example 2 ...........................................................................................................................36 Learning experiences....................................................................................................................................38 Conclusion......................................................................................................................................................39 Bibliography ...................................................................................................................................................40 List of Figures .................................................................................................................................................42

AUTHORS BIOGRAPHY

Stephen Royce is an Industrial Design Student studying at RMIT. Focusing on researching sustainable or waste based materials.

Stephen does not care for writing about himself in the third person.

INTRODUCTION

With some architects and designers declaring a climate emergency (AIA, 2019), there is a need for a clear and coherent method for selecting sustainable materials. This documents researches what it means by ‘sustainable material’ by looking into designers in the related field.

Using their definitions and further researching in to similar standards, a proposal for a ‘sustainable material matrix’ that could potential help designers make a more informed decision when it comes to selecting a suitable material.

Figure 1 - “Architects Declarer”

TA S K 1 TA S K 1

‘Designers and sustainable building methods and product materials’.

‘Designers and sustainable building methods and product materials’.

ABSTRACT

ABSTRACT The aim of this report was to investigate designers and their use of

sustainable buildingand methods The aim of this report was to investigate designers their useorof product materials in light of climate movement. ` Research sustainable building methods the“architect or productdeclare materials in and lightbiodiversity” of conducted into 5 designers, the“architect declare climate andwas biodiversity” movement. ` Researchrelating to sustainable building materials.

Research using; peer review journals, website, magazines, was conducted into 5 designers, relating to sustainable building interviews.

Overall, the results indicate that designers have materials. Research using; peer emails reviewand journals, website, magazines, a historical, innovative, self-driven desire to experiment, create and emails and interviews. Overall, the results indicate that designers have incorporate sustainable building a historical, innovative, self-driven desire tomore experiment, create and materials with their projects.

The report concludes, is an ongoing need for designers of all incorporate more sustainable building materials with there their projects. disciplines continue to innovate The report concludes, there is an ongoing to need for designers of all different sustainable building methods and product materials, partly driven by a desire to research, disciplines to continue to innovate different sustainable building and experimenting, and partly due to the climate crisis and methods and product materials, making partly driven by a desire to research, architects acknowledge this crisis. The report making and experimenting, andrecent partlydeclarations due to the by climate crisistoand industry related awareness of existing recent declarations by architects recommends to acknowledgefurther this crisis.

The report government programs of thatexisting promote sustainable methods and recommends further industry related awareness materials sustainable relating to the buildingand industry, to help designers further government programs that promote methods drive innovation. materials relating to the building industry, to help designers further drive innovation.

KEYWORDS KEYWORDS Climate crisis, building material, waste, virgin materials, architecture, construction, housing, Climate crisis, building material,fabrication, waste, virginartefacts, materials, carbon arcFigureemissions, 1Australian artefacts, Standards, movements, “Architects Declarer”hitecture, fabrication, carbon emissions,action, declaration, sustainable construction, housing,

materials, virgin materials, carbon, architects, interior designers

INTRODUCTION There have been many great examples of designers of different disciplines creating sustainable building methods and materials since the late 19th century.

There are indications that suggest that

innovation in this field will start pushing into methods that previously not considered as traditional building materials. Recently, a group of architects in three countries called for action on the climate crisis, increasing the need for sustainable methods and products.

This report will research into traditional, current and cutting-edge sustainable building methods and materials. Look into the discourse, to why designers researching in this field and why it is currently important.

METHOD The research started by simply looking at why the field of sustainable building methods and product materials is currently important. The consensus that humans are causing recent global warming is shared by 90%-100% of publishing climate scientists (Cook et al., 2016). This research was based on 11,944 abstracts of research papers, of which 4014 took a position on the cause of recent global warming. A survey of authors of those papers (N = 2412 papers) also supported a 97% consensus (Cook et al., 2016).

Research methods relating to the current discourse, will focus on a press release from the AIA and their support of Australian architects recent declaration(AIA, 2019).

The report will then continue to look at past discourse, looking into what motivated architects, builders and developers too uses sustainable building methods or product materials. Researching on what incentives, if any, these stakeholders receive from government programs like greenstar. It will conclude, speculating on the future of building methods and product materials.

The research then looked at individual designers and their methods into sustainable building methods or materials. Each one of these designers is presented in a case study.

DISCOURSES The discourses that are shaping the field that this report will focus on, are; 1) An external discourse relating to “architect’ declare climate and biodiversity� movement (AIA, 2019). This declaration from architects will develop and design buildings, cities and infrastructure that resets the paradigm (AIA, 2019). Putting designers that are using sustainable methods a key partner.

2) What was the motivation prior to the climate crisis for architect, designers and developers to implement sustainable building methods and product materials.

3) Speculation that more product materials used in buildings will be grown and this will effect building methods.

CASE STUDY 1 - BUCKMINSTER FULLER Taking an historical perspective, Richard Buckminster Fuller is credited as the father of building sustainability (Goodwin, 2018).

Fuller is described as an inventor, architect and the second president of Mensa. He had a massive impact on the architecture and popular culture of the latter 20th century. Most famous for popularising the geodesic dome (Goodwin, 2018).

Fuller was considered a futurist and fought for innovative solutions to humanity's problems, becoming an early pioneer of sustainable

design and renewable energy and participated in the first United Nations forum on human settlement, Habitat 1 (Goodwin, 2018).

He is most famous for popularising the geodesic dome.

Fullers experimentation and that he was an early pioneer into sustainable building methods makes him interesting in this field.

Figure 2 - Buckmister Fuller Photograph by Maia Valenzuela Figure 3 - MONTREAL, CANADA The Biosphere Environment Museum, featuring a geodesic dome designed by Richard Buckminster Fuller Photograph: George Rose

Figure 4 - Studio Formafantasma

Figure 5 - Studio Formafantasma

CASE STUDY 2 STUDIO F O R M A FA N TA S M A Current Italian design duo, Studio Formafantasma are based in The Netherlands. Their interest in product design developed on the IM master course at Design Academy Eindhoven, where they graduated in July 2009. Since then, Formafantasma has developed a coherent body of work characterised by experimental material investigations and explored issues such as the relationship between traditional and local culture, critical approaches to sustainability and the significance of objects as cultural conduits (Pavan, 2018) They were commissioned to do a research project by the NGV in Australia. The project called Ore Streams was an investigation into the recycling of electronic waste. The project made use of a different media to address the topic from different perspectives. The goal was to offer a platform for reflection and analysis on the meaning of production and how design could be an important agent in developing a more responsible use of resources (Trimiarchi & Pavan, 2018).

They are interesting as they put a different approach on what sustainable product materials are.

By using electronic waste as a

product material, it challenges the idea of what conventional materials are.

CASE STUDY 3 – JONAS EDVARD Jonas Edvard is a Danish Product Designer educated from the Royal Academy of Fine Arts, Denmark. His work is focused on research into raw and natural materials, the history of their use and the future of their existence (Edvard, 2013) The MYX lamp consist of plant fibre and mushroommycelium. The lamp is grown into a shape during a period of 2-3 weeks, where the mushroom mycelium grows together. Then the plant fibres become a flexible and soft living textile (Edvard, 2013).

The waste product ‘shaped as a lamp’ can then be dried and used as a lightweight material, that is both organic, compostable and sustainable (Edvard, 2013).

The mushroom mycelium stabilisers the construction by

Figure 6 - Jonas Edvard Photograph by Unknown

physically growing together in the material, behaving as a glue between the fibres. The MYX consists of waste – the mushroom organism comes from a commercial mushroom farm and the plant fibres is a leftover material from the textile industry (Edvard, 2013).

Edvard pushes the boundaries of what can be used in building materials. The concept of “growing” raw materials from waste using mushroom organisms from commercial mushroom farms and left-over materials from the textile industry.

This makes him extremely

interesting and opens up the idea of different “grown” product materials”.

Figure 7 - The ‘Myx Lamp‘ by Danish product designer Jonas Edvard features an organic exterior grown from plant fibres and mushroom mycelium. - Photograph by Jonas Edvard

CASE STUDY 5 – Her knowledge on polymers and technopolymers are vast .

CECILIA CECCHINI

Cecchini work seems to be purely academic but is clearly recognised as one of the leading authorities on sustainable product materials.

Is an academic. She is the Associate Professor of Design at Sapienza University in Rome.

Her research on sustainable materials (Cecilia Cecchini, 2017) is extremely interesting as it gives a glimpse in to what the future holds in She is also an Architect, has a PhD in Architecture Technology, Associate this particular field, this is evident in her Journal – “Bioplastics made Professor in Industrial Design at “Sapienza” University of Rome, Faculty of from up-cycled food waste. Prospects for their use in the field of Architecture. design” Cecchini teaches “Technologies and Design” at the Degree Course for Industrial Design and “Atelier of Public Design” in Master’s Degree course in Design, Visual and Multimedia Communication.

Cecchini has worked in design related academia from 2007 to current. She coordinated and directed research and projects on behalf of public and private bodies (ASI, the Italian Space Agency; AMA, the Municipal Waste Collection Firm of Rome; CER, the Committee for Residential Construction; Creseme, the Economic, Social and Market Research Centre for Land and Construction; Irsed, the Research and Development Institute for Development and Experimentation in Residential Construction; CNR, the Italian National Research Council; the National Cooperatives Consortium and the Fratelli Dioguardi construction firm) in the area of components, technological innovation and polymer materials (C Cecchini, 2011).

Her knowledge on polymers and technopolymers are vast .

Cecchini work seems to be purely academic but is clearly recognised as one of the leading authorities on sustainable product materials.

Her research on sustainable materials (Cecilia Cecchini, 2017) is extremely interesting as it gives a glimpse in to what the future holds in this particular field, this is evident in her Journal – “Bioplastics made from up-cycled food waste. Prospects for their use in the field of design”

Figure 11 - Cecilia Cecchini - Photograph by Unknown

Figure 12 -Cecilia Cecchini, materials made with the fermentation of bacteria. Photograph by Cecilia Cecchini

Figure 13 - Cecilia Cecchini, eco-leather made with the fermentation of bacteria. - Photograph by Cecilia Cecchini

CASE STUDY 4 – ALEXANDER LOT E R S Z TA I N An Argentinian born Australian designer and founder of the multi- disciplinary design studio Derlot. This highly awarded studio specialises in product, furniture and interior design, as well as hotel concepts, branding and art direction with a long list of international clients.

Figure 14 - Alexander Lotersztain - Photograph by Unknown

Wishbone table Is manufacture for disassembly and all polymer parts are labelled for s e g re g a t i o n a n d s o r t i n g .

Th e

manufacturing facility where the table is produced, utilises solar power and LED lighting, is ISO14001 & ISO9001 certified and all the products are VOC compliant.

This case study is interesting

as it combines a well-known and respected Australian designer with speculative “environmental credentials”. This could be seen as green wash. for segregation and sorting. The manufacturing facility where the table is produced, utilises solar power and LED lighting, is ISO14001 & ISO9001 certified and all the products are VOC compliant.

This case study is interesting as it combines a well-known and respected Australian designer with speculative “environmental credentials”. This could potentially seen as being green wash.

RESEARCH INTENTIONS The research intentions are further my understanding of cutting-edge sustainable product materials that can be used for more sustainable building methods.

To start research into experimental product

materials, to see if it can replace standard build materials.

DESIGN RESEARCH PROPOSITION The proposition will set a path to identify potential opportunities to incorporate existing cutting-edge sustainable product materials and to research their potential as alternatives to existing virgin based material.

To identify uses of these cutting edge materials into more practical uses.

TA S K 2 Criteria for ‘Sustainable materials’

ABSTRACT With a large number of prominent architects around the world declaring a “climate and biodiversity” crisis (AIA, 2019) , it can be argued, that it is critical to have a clear set of definitions and measurable criteria to compare and work out what

sustainable

material is. This would assist in selecting sustainable materials for design practitioners and manufacturers alike.

With a focus on measuring the sustainability of raw or finished materials, as opposed to a consumer based finished product energy efficiency, could have a larger impact in reducing CO2 emissions and biospheric and social sustainability (Koltun, 2010).

By reviewing current definitions, looking at other sustainable based standards and interviewing an industrial designer in the related field, I will propose a set of criteria as an infographic for Task 3, that can be used to determine how sustainable a selected material is.

Figure 7 - The ‘Myx Lamp‘ by Danish product designer Jonas Edvard features an organic exterior grown from plant fibres and mushroom mycelium.

- Photograph by Jonas Edvard

DEFINITIONS OF S U S TA I N A B L E

M AT E R I A L S CURRENT DEFINITION Using Frank-Martin Belz & Ken Peattie’s definition as a guide, what makes something sustainable can be broken in to six characteristics (Soler, 2010) ; 1. Customer satisfaction – that the material is fit for purpose 2. Duel focus - sustainable materials focus both on biospheric and social significance 3. Life cycle – How the product preforms during its entire life cycle 4. Significant improvements - provide measurable improvements to social and ecological environments 5. Continuous improvement – As knowledge in the field evolves, sustainable materials should also improve to match the expectations of the socio-ecological 6. Competing offers - the competing offers may serve as a benchmark (Soler, 2010) Frank-Martin Belz & Ken Peattie’s definition is important for my criteria for sustainable materials as it is a transferable definition from sustainable product to material.

In addition, it lists important

characteristics that a material can be measured against.

I will consider using duel focus, life cycle & significantly improve as part of the measurable components of my infographic for Task 3, as these characteristics are measurable.

OT H E R S U S TA I N A B L E S TA N DA R D S As there are currently no known sustainable material standards, looking at standards for sustainable products can assist with setting up a list of criteria, helping with the infographic for Task 3. As there are a number of different standards around the world, I will focus on two case studies; The EU energy efficiency label and the Nordic Swan Ecolabel.

Both these case studies will help for Task 3 as they each take different approaches on measuring sustainability.

The EU Energy efficiency

label uses a consumer driven comparison model (EU, 2012), which shows a number of criteria on a label informing the consumer of the products comparable qualities

and the Nordic Swan Ecolabel is a

voluntary licencing system. Applicants agree to follow criteria set out by the Nordic Ecolabelling (Nordic Ecolabelling, 1995), that a successful applicant can simply display on their product.

CA S E ST U DY 1 - E U E N E R GY EFFICIENCY LABEL The Energy Efficiency Directive is a European Union law with mandates energy efficiency improvements within the EU (EU, 2012).

The label consists of four main categories; The appliance details – company, model, etc.

Energy class - a colour code associated to a letter (from A to G) that gives an idea of the appliance's electrical consumption.

Consumption, efficiency, capacity, etc - this gives information according to appliance type.

Noise - emitted by the appliance.

The EU energy efficiency label/infographic is simplistic and easy to understand to compare different consumer-based products. However, using an alphabetical rating system could be seen as difficult to understand (Barnes & Buring, 2012) therefor potentially limiting the desired impact.

CASE STUDY 2 – THE NORDIC SWAN ECOLABEL The Nordic Swan Ecolabel works to reduce the environmental impact from production and consumption of goods – and to make it easy for consumers to choose

the environmentally best goods and services

(Nordic Ecolabeling, 1995).

This label is broken into four criteria;

-Sets strict environmental requirements in all relevant phases of a product's life cycle

-Sets strict requirements for chemicals used in ecolabelled products -Tightens requirements for goods and services continuously to create sustainable development

-Certifies and verifies that all requirements are met before a product is approved.

This system is more holistic in its approach, as it is more broad then the EU energy efficiency label, however, it seems to lack product based visual measurables, making it difficult to compare different products.

As I could not find a specific reason why they do this, I can only speculate that because they re-evaluate what is deemed as sustainable on an on-going bases and the applicant needs to re-apply every 3 years (Nordic Ecolabelling, 1995), having label based measurables that constantly change will be confusing for the consumer.

A N A LY S I S Adopting some of the methods I have researched, for example; Soler definition of sustainability relating to duel focus, life cycle and significantly improve, the EU’s energy efficiency label’s comparison rating system and Nordic Swans holistic approach as well as many of Edvards criteria in my Task 3 infographic. The infographic will have to consider four main criteria to help design practitioners and manufactures select more sustainable materials. Where a criteria cannot be measured in an understandable value, the metrics would use a infographic pictorial or a minus 5 to positive 5 rating system, 0 being natural or having no negative or positive effect. Using a number based system should limit confusion caused by an alphabetic system (Barnes & Buring, 2012) used by the EU’s energy efficiency label.

The four criteria for Task 3 will be;

Embedded Energy - used in extraction, processing and transport. This could be measured using Cireri’s - A Tool to Estimate Materials and Manufacturing Energy for a Product (Duque Ciceri, Gutowski, & Garetti, 2010) and be a numeric value based in megajoule per kilo (MJ/kg). The lower the number the more sustainable the material is.

Ability to be reused or recycle- end of life consideration. This would use the -5 ~ +5 rating system mentioned above. An item that can only be used once and cannot be reuse or recycled receives a minus 5 rating and a product that uses can either be used time and time again or returns to the natural life cycle.

Fit for purpose – That the material is appropriate for its intended use.

This would be a symbol-based criteria. For example, a “waterproof” or “Insulator” infographic.

Improvements – How it impacts the environment and society at every stage of its life cycle. These criteria would be similar to the Nordic Ecolable and would need to be continently reviewed and updated as the sustainability defi nition get further refi ned.

I will test these criteria in Task 3 on a selected material that is found in a common everyday product.

AN INDUSTRIAL DESIGNER PERSPECTIVE Understanding what industrial designers consider as sustainable materials should better shape my Task 3 infographic criteria, as it will consider their motivations when selecting materials.

The industrial designer I interviewed for my second case study, has a history with creating and using sustainable materials

JONAS EDVARD Edvard would be considered on the cutting edge with his use of mushroom-mycelium with the MPX lamp (Edvard, 2013).

Edvard

sustainable approach would be seen more authentic and considered then most others in his field.

When interviewing Edvard, he defines sustainable materials as “which does not harm the natural world, but increases the biodiversity and life of all the organism living in nature, including us humans” (J. Edvards, personal communication, September 2019).

Continuing, he would consider the criteria for sustainable materials to be;

-How it is mined (sourced) and the localised ecological and social impacts of doing that.

-The ecological and social impacts when processing it, -Is it dangerous, flammable, toxic, hazardous to the environment?

-Its effects on our lives when using it -Is it recyclable or reusable without adding virgin materials?

-End of life – ability to return to the natural life cycle (J. Edvards, personal communication, September 2019).

Figure 15 - The ‘Myx Lamp‘ by Danish product designer Jonas Edvard features an organic exterior grown from plant fibres and mushroom mycelium. Photograph by Jonas Edvard

REFLECTION These criteria have some fairly obvious gaps, such as the complexity of how to accurately measure embedded energy, especially in the transport as it would be regional specific. It would require consistent and ever-changing transport routes, which is unrealistic.

However,

Cireri’s - A Tool to Estimate Materials and Manufacturing Energy for a Product (Duque Ciceri et al., 2010) does allow for estimates.

Ability to be reused or recycle, should be reasonable straight forward, but defining 10 different steps (-5 ~ +5) this will need to be reassessed during Task 3.

Fit for use is also difficult as its features and benefits for each product, but infographics can be added and defined as required.

Improvements – Would require a lot of administration and constant review. This is a fairly common as researched with Nordic Ecolabelling.

It could also reduce unsubstantiated sustainability claims, know as ‘greenwashing’ by exposing the real environmental costs.

CONCLUSION A clear definition for a complex concept such as what is ‘sustainable material’ is difficult because of interconnected domains that are environment, economic and social (Capra, n.d.) and the vast effects that human civilisation has on the biosphere.

Although, having a

measurable definition, like I have proposed, should make comparing different materials and working out which one is sustainable and suitable, easier for architects and designers.

When researching this, it is become apparent to me that being able to create a measurable sustainable material infographic would be difficult but is achievable based on the two case studies.

For Task 3, I will create an infographic based on the four criteria in the analysis.

I will then use the infographic and analyse the aluminium

used to create an aluminium soft drink can and compare it to the PET plastic water bottle.

TA S K 3 Sustainable Material Matrix

The ‘Sustainable Material Matrix’ is an infographic that helps define four criteria based on my research. This is defined as;

Product N ame E m b e d de d E n e r g y

Embedded Energy - For Task 3, this is broken in to two

XXX

parts Embedded Energy based on an estimated calculation by on Cireri’s - A Tool to Estimate Materials and Manufacturing Energy for a Product (Duque Ciceri, Gutowski, & Garetti, 2010) and a comparison chart that measure the selected product to the average of like products that could be comparable.

E mb ed d e d E ne r g y Co m pa r

T < Worse

Ave. for simila

End of Life - (Ability to be reused or recycle) -. This would broken in to 4 sections;

End of Life

Recyclable - If the material can itself be recycled

Fit for u

and continue its material life Reuse - If the material could be reused or repurposed into some ‘useful’.

The definition for ‘useful’

would be fluid and be defined by societies attitudes.

12% 13%

W

41%

Bio-degradable - If simply the product could truely enter back in the the ecosystem that would either improve or have no negative effect on the environment.

S

34%

Land fill - This for materials that cannot be used or defined by the above definitions.

Recyclable Bio-degradable Reuse Landfill

Figure 16 - Sustainable Material Matrix infographic concept by Stephen Royce

Man ufa ctu r e r

XX

MJ/ Per KG

r is on

This product Better >

ar product

Fit for use - This is to ensure that materials are fi t for

use

Improvements

Water proof

intended use. This represented as a simplistic infographic with attached text.

Sustainable Sourced

Improvements - This again will be an infographic that will

Sound proof

display improvements in context of further environmental or social improvements.

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CONTRIBUTION TO THE DESIGN FIELD EXAMPLE 1

EXAMPLE 2

A lu minium

Alc o a

Em b e d d e d En e rg y

157

PET

Al c oa

E mbe dd ed En e rgy

MJ/ Per KG

E m be dde d Energy C o m p aris on

MJ/ Per KG

E mb edde d E nergy Co m p aris on

This product

This product

< Worse

Better >

< Worse

Ave. for similar product

End of Life

88

Better > Ave. for similar product

Fit for use

Improvements

End of Life

Fit for use

Improvements

EcoVadis Food & Bev

Safe

3D milling

28%

15%

Food & Bev

Safe

58%

100%

Recyclable Bio-degradable Reuse Landfill

Recyclable Bio-degradable Reuse Landfill

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The Sustainable Material Matrix could contribution to the design industry as a whole, in better informing what materials are sustainable.

Putting materials on a relatively simple comparison footing, users will have a more informed choice.

By having a number of different

matrixes each material can be compared on, users own biases can help inform what they want in a sustainable material.

When comparing two materials like that in example 1 and example 2, you can see that the Aluminium uses much more embedded energy than the PET equivalent, but the aluminium is a much higher recycle content. This allows the user to make a more informed decision.

LEARNING EXPERIENCES For my learning experience I was able to better understand what other designers consider as “sustainable” and what criteria could be used for myself when determining “what is a sustainable material”.

The is a lot of discourse with in the design community about what criteria makes something sustainable, often leading to some materials being ignored because of failing in one of the 4 criteria that could define something sustainable. I have been able to better understand the definition and hopefully start incorporating it in to my practice.

Figure 16 - Sustainable Material Matrix -

Figure 17 - Sustainable Material Matrix -

infographic concept by Stephen Royce -

infographic concept by Stephen Royce -

Data used is not actual

Data used is not actual

CONCLUSION A label or infographic like the one I have put forward, I believe would cause a lot of controversy, as some of the data would have to be estimated, potentially undermining the objective set out at the beginning. If the estimated data used in the matrix was acceptable for the majority of users, the concept could have real world benefits.

By using four researched based criteria to define the “sustainable material matrix” it should potentially make selecting different materials more informed for the user.

Overall, there should be something like this implemented, not only to reduce “green wash” but to increase awareness as well as to help promote more sustainable business practices.

BIBLIOGRAPHY AIA. (2019, July 29). The Institute endorses Architects’ declaration of a climate emergency. Retrieved August 24, 2019, from THE INSTITUTE ENDORSES ARCHITECTS’ DECLARATION OF A CLIMATE EMERGENCY website: https:// www.architecture.com.au/news_media_articles/the-instituteendorses-architects-declaration-of-a-climate-emergency/ Barnes, K. D., & Buring, S. M. (2012). The Effect of Various Grading Scales on Student Grade Point Averages. American Journal of Pharmaceutical Education, 76(3), 41. https://doi.org/10.5688/ ajpe76341 Capra, F. (n.d.). THE SYSTEMS VIEW OF LIFE A UNIFYING CONCEPTION OF MIND, MATTER, AND LIFE. 8.

Duque Ciceri, N., Gutowski, T. G., & Garetti, M. (2010). A tool to estimate materials and manufacturing energy for a product.

Proceedings of the 2010 IEEE International Symposium on Sustainable Systems and Technology, 1–6. https://doi.org/ 10.1109/ISSST.2010.5507677 Edvard, J. (2013, January 1). MYX Lamp. Retrieved August 22, 2019, from https://jonasedvard.dk/work/myx/ EU. (2012). EU Directive 2012/27/EU. 56.

Koltun, P. (2010). Materials and sustainable development. Progress in Natural Science: Materials International, 20, 16–29. https:// doi.org/10.1016/S1002-0071(12)60002-1 Nordic Ecolabelling, N. (1995). The official ecolabel of the Nordic Countries. Retrieved September 27, 2019, from The official ecolabel of the Nordic Countries website: http://www.nordicecolabel.org/the-nordic-swan-ecolabel/ Soler, C. (2010). Frank-Martin Belz and Ken Peattie: Sustainability Marketing. A Global Perspective: John Wiley & Sons: West Sussex, 2009. ISBN 978-0-470-51922-6. 309 pp, GBP 29.99.

Journal of Consumer Policy, 33(4), 425â&#x20AC;&#x201C;426. https://doi.org/ 10.1007/s10603-010-9132-7

LIST OF FIGURES Figure 1 - “Architects Declarer” Figure 2 - Buckmister Fuller - Photograph by Maia Valenzuela Figure 3 - MONTREAL, CANADA - The Biosphere Environment Museum, featuring a geodesic dome designed

by Richard Buckminster Fuller . Photograph: George Rose Figure 4 - Studio Formafantasma Figure 5 - Studio Formafantasma Figure 6 - Studio Formafantasma Figure 6 - Jonas Edvard - Photograph by Unknown Figure 7 - The ‘Myx Lamp‘ by Danish product designer Jonas Edvard features an organic exterior grown from plant fibres and mushroom mycelium. - Photograph by Jonas Edvard Figure 11 - Cecilia Cecchini - Photograph by Unknown Figure 12 -Cecilia Cecchini, materials made with the fermentation of bacteria. Photograph by Cecilia Cecchini Figure 13 - Cecilia Cecchini, eco-leather made with the fermentation of bacteria. - Photograph by Cecilia Cecchini Figure 14 - Alexander Lotersztain - Photograph by Unknown Figure 15 - The ‘Myx Lamp‘ by Danish product designer Jonas Edvard features an organic exterior grown from plant fibres and mushroom mycelium. - Photograph by Jonas Edvard Figure 16 - Sustainable Material Matrix - infographic concept by Stephen Royce Figure 17 - Sustainable Material Matrix - infographic concept by Stephen Royce Figure 18 - Sustainable Material Matrix - infographic concept by Stephen Royce