POSITION

INDEX / LANG EN

INDEX

Matías Oliva · Designer

CRITICAL DESIGN ARCHIVE

  1. P01Cocoon Armchair
  2. P02Cianoback Kit
  3. P03Ordna

Matías Oliva · Designer

Radikal Ecodesign · Córdoba, Argentina

  1. P01Cocoon Armchair
  2. P02Cianoback Kit
  3. P03Ordna

Design doesn't end with objects. It also gives form tohabits.

I understand the designer as a cultural maker: someone able to translate contexts, tensions, and aspirations into new ways of relating to one another, to our surroundings, and to the natural world we inhabit.

SCROLL / 01—05

01 / POSITION

Manifesto

Edition 02 · 2026 · 74 pages

Manifesto — Image 1
VIEW EDITIONDOWNLOAD PDF

Use “Read” to access the translated manifesto.

I design from an awareness of our era: that of an industrial civilization beginning to show its limits.

I firmly believe in new ways of making things, placing the care of the environment, its diversity, and its preservation above all else. For three years I have been developing a design manifesto where I articulate this view.

VIEW EDITIONDOWNLOAD PDF

Use “Read” to access the translated manifesto.

ARCHIVE

POSITION

02 / POSITION

Approach

three views that cross

  1. Social innovation

    Designing with and for people. Processes that expand collective capacities rather than objects that pile up.

  2. Cradle to Cradle

    Nothing is waste. Every material is a nutrient —biological or technical— that circulates again. Designing the afterward, too.

  3. Sustainability

    Not as a promise of greater green consumption, but as a way of weighing what deserves to be produced and what does not, in a world that, so they say, is collapsing.

03 / EVIDENCE

Practice

2026

Prêmio Salão Design °27

Special award · Professional Category · Special Jury Mention - Raising Awareness · Brazil

[Award]

2025

Prêmio Salão Design °26

Selected finalist · Student category · Brazil

[Catalogue]

2024

Concurso METRAR 3rd Edition

Honorable mention

[Award]

04 / ARCHIVE
P01—P03

Projects

  1. Cocoon Armchair — Image 105 Images
    01

    P01 · Object · 2025

    Cocoon Armchair

    Experimental furniture design developed from the reuse of textile waste. Its enveloping silhouette proposes a distinctive experience and transforms these discards into a new material, functional, and expressive opportunity.

    Open case file

  2. Cianoback Kit — Image 106 Images
    02

    P02 · System · 2024

    Cianoback Kit

    A low-cost system that adapts existing drainage machinery to collect cyanobacteria with greater efficiency, lower energy consumption, and higher residue concentration — enabling its incorporation into new productive cycles, such as biogas generation.

    Open case file

  3. Ordna — Image 112 Images
    03

    P03 · System · 2026

    Ordna

    A modular system for urban waste management that acts as a relational enabler among people, waste, home, and community. It supports source separation, fosters responsible habits, reminds of collection schedules, and helps integrate community-specific sorting schemes and both formal and informal collectors into urban collection circuits.

    Open case file

05 / CONTACT
CÓRDOBA · AR

RADIKAL

“RADIKAL”

From Latin radix: root.

Go to the root of problems. Question structures. Transform systems.

Available for consulting and Radikal Ecodesign projects.

01 / Design manifesto

MAN C01/06 · I

Manifesto of Radikal Ecodesign

Córdoba; Argentina · December 2024

For a century, industrial design learned to make products that are ergonomic, beautiful, efficient, and profitable. It succeeded. Today those achievements are no longer a merit: they are the floor.

The problem is that the floor has shifted. The climate crisis and the exhaustion of the industrial model we inherited —all of us, designers included— have changed the conditions of the craft. A product can be impeccable in every one of those dimensions and still be part of the problem.

I don't propose abandoning those criteria. I propose adding a question that today is unavoidable: what does this object produce besides itself. What flows does it set in motion, what does it leave behind, which cycle does it enter when it ends.

Radikal Ecodesign gathers five approaches for designing from that question. They are not rules, nor a judgment on what has already been made; they are entry points, to be applied as each project and its context demand.

  1. Collapsonaut designBring discards into the production line: treat them as material, not as the end of the road. Each residue enters where it can circulate again —technical or biological cycle— according to its functions and its useful life.
  2. Design in the face of hyperproductionAccept the real scale of what we produce —wrongly called waste— and intervene in what that scale generates: collection, transport, storage, impact.
  3. Design in the face of hyperconsumptionOperate on the flows of mass consumption to recover resources and energy from them.
  4. Design for emergencyRespond to disasters and extreme events which —according to studies and declarations— will only grow more frequent.
  5. Design for the environmentReduce human impact on the relationships between the living and the inert, particular to each ecosystem.

What this manifesto does not do

I do not propose lowering the level of production or regulating consumption. It is worth saying why, because it is the most debatable decision in the whole document and I do not want it to read as an oversight.

First, leverage. Designers do not decide how much is produced or how much is consumed. They decide what goes into a product, how it is made, how long it lasts and what happens when it ends. Pretending to a power we do not have is the most elegant way of not exercising the one we do.

Second, division of labour. There are movements, disciplines and entire design approaches working on production volume and on the regulation of consumption. They are needed and I am not replacing them. This manual deals with a different stretch of the chain.

Third, scepticism. Regulation of consumption, when it arrives, arrives late and unevenly, and ends up falling on those who consume least. I would rather intervene where the effect does not depend on someone changing a habit.

None of this is neutrality. If the result of these five approaches were to make the same flow of matter more bearable without ever touching it, the manifesto would have failed. The only defence against that is the rule set out in chapter IV: every project declares what it costs for it to exist.

None of this begins with me either. Papanek put design in front of its political responsibility more than fifty years ago. Fry showed that every object decides futures. Escobar has been arguing from Latin America that autonomous design is done from and for one's own community. Manzini organised the small, local, open and connected. Liboiron demonstrated that waste is not a thing but a relation. Precious Plastic proved that a workshop can produce from discards with open know-how. What I add is smaller and more precise: waste understood as an actor of the habitat, with the same standing as flora, fauna or ourselves; its life broken down into phases that can be attacked one by one; and a single rule of evaluation running through all five doors.

I don't have the solution to the ecological crisis, and I distrust anyone who claims to. I propose something more modest: five ways to design seriously within it. It is not a plan to save the world. It is enough to get to work.

Note. A collapsonaut is not someone resigned to collapse: it is someone who learns to navigate it.
Matías Oliva Gerik

MAN C02/06 · II

Where we are standing

This chapter does not explain how we got here. It describes what we found on arrival.

I have no interest in reconstructing the economic and social history that brought us to this point: there are entire libraries devoted to that, and this manifesto is not one of them. What interests me is the state of the table at the exact moment we sit down to design.

Between the two extremes we crudely call left and right there swings an enormous diversity of economic and political thought. They disagree on almost everything. But the models that prevail today share one trait that is almost never discussed: they accelerate time, above all the time of production and of consumption.

On that acceleration rest the variables that end up shaping what we buy, when, and for how long.

  1. FashionOne of the great shapers of collective taste and one of the strongholds of consumerism. Its changing nature produces objects that spend more time in the factory than in use, only to end up in open-air dumps.
  2. Economic accessibilityThere are social classes with different purchasing power. On one side, waste; on the other, access to poor-quality products, or no access at all to goods indispensable for a decent human life.
  3. GlobalisationDaughter of communication technologies. It leads us to adopt habits that are not ours, abandon our own cultural traits, and neglect local problems that would be perfectly solvable.
  4. Technological advancesCombined with highly effective marketing, they produce a permanent sense of being out of date. People camp outside stores because of that feeling.

Underneath all of this is a relationship with our habitat that follows, almost without exception, the principles of the linear economy: extract, transform, consume, discard. If it needed a biological name, it would be parasitoidism: the parasitoid ends up killing its host. With the aggravating detail that here the host is the house.

A necessary caveat. Speaking of "society" as a single block contradicts what I believe as a designer: society is precisely its diversity, of people, of environments, of ways of reacting. To develop the paragraph above I had to strip it of that diversity. I am handing it back right here.

The impacts of that relationship are visible without instruments: unchecked urban growth, loss of native biomes, extinction of flora and fauna —a look at the IUCN Red List is enough to grasp the scale—. In several cities animals have already changed their habits and look for food in dumps. It isn't that birds enjoy visiting you: the fires evicted them from their native studio flat.

To design on top of this I need a definition of environment and a cast of actors. I take the one from the United Nations Conference on the Human Environment (Stockholm, 1972) —the set of physical, chemical, biological and social factors capable of causing direct or indirect effects, in the short or long term, on living beings and human activities— and open it into five members of the habitat.

  1. FloraAll specimens within the plant and fungal kingdoms.
  2. FaunaAll specimens within the animal kingdom.
  3. Human beingsEvery person on the planet, from birth to death, regardless of distinguishing traits. Our role here is larger than our role as a species: it includes the impact of every product and service we use.
  4. Natural matterMinerals and formations produced naturally, without human intervention, that hold no life.
  5. Human matterEverything we manufacture, once its life cycle is over. Later on we will call it by its name: waste.

Of the five, one changes the standing of all the others: human matter. Treating waste as an actor of the habitat —rather than as the end of a chain— is what makes it possible to design on it instead of designing in spite of it. It is the idea that holds up the rest of this manual.

The cast is not closed either, and I would rather say so. It is missing at least three actors currently dissolved into the others: soil and its microbiota, which is not inert matter but a living system; water understood as a body rather than a resource; and infrastructure —networks, roads, cabling, collection circuits— which is human matter in use and conditions everything else. It also lacks an axis of scale: the altered pH of a campsite and a stranded cetacean cannot enter the same diagram without noting that one is solved with an object and the other is not.

Hyperconsumption

Hyperconsumption is the excessive and irresponsible consumption of resources: water, electricity, gas, oil. It has two causes and neither is comfortable. The first is hard to analyse and rather sentimental: the excess of one resource may be caused by the shortage of another, by the technology that mediates that consumption —washing machines, stoves, heaters— or by purely human reasons. Who am I to tell you not to take a long shower after a sad, exhausting day, or to switch off the heater when you have already spent the whole day working outdoors?

The second cause is less sentimental and more measurable: there are more of us. World population is projected to grow from today's 8 billion to some 9.7 billion by 2050, peaking near 10.4 billion in the mid-2080s. More than half of that growth would take place in Africa, while the population of around 61 countries or areas would shrink by 2050.

Consuming resources is unavoidable. What can be controlled and improved is where they come from. And three problems complicate it: access to resources is not the same between countries, nor between neighbours in the same city; we depend on companies that, for their own reasons or someone else's, can restrict that access; and the market is homogeneous to the point of boredom, with products that barely alternate between two energy sources —the gas stove and its competitor, the electric one—.

A counter-figure. The Kardashev scale calls a Type I civilisation one that manages to harness all the energy available on its planet. It is usually cited as a desirable horizon. Here it works the other way round: it is exactly what we will not be able to be, and this manual begins where that fantasy ends.

Hyperproduction

Hyperproduction is the excessive production of consumer goods. Lowering the level of production is not the focus of this approach, and much less regulating consumption: that falls outside its spirit, and there are already movements working on it. What concerns me is the larger problem hyperproduction drags along, which is the production of waste.

That is where the real difficulties appear: separation, collection and storage. The diversity of typologies and materials, the space where waste is generated and discarded, and the later life of the residue. Every product has a life cycle that at some point ends as waste —not to mention packaging, which starts out as waste—.

Emergencies

Climate disasters are recurrent, natural facts of history. What is new is the frequency: according to a World Meteorological Organization report, floods, heatwaves and wildfires have multiplied fivefold over the last fifty years, with incalculable environmental costs and economic costs exceeding 3.64 trillion dollars.

We cannot avoid them or stop them. We can prepare for them. And we are not prepared: it is enough to look at the magnitude 6.2 earthquake in Gansu, or the storm of 17 December 2023 in Bahía Blanca, which left thirteen dead and an uncountable amount of material damage. I invite the reader to abandon reading for a moment and search for news about any of those threats: very few are positive. Answering the question directly: no, we are not objectually prepared. Socially, some cultures may well be.

Environmental disorders

This is the most complex point, because it cannot be seen all at once. If every actor depends on the others, each problem affects several at the same time. A pavement broken by growing roots. Species that cannot thrive because a tall building took away their hours of sun. Grass that will not grow because the paths were paved. Soil pH altered in camping areas by too many bonfires. Roadkill. Stranded cetaceans. Invasive species rearranging entire food chains.

Five actors, four fronts. What follows is what can be done with that.

MAN C03/06 · III

The five approaches

Five lenses, not five boxes. A project can be looked at through several at once, and some of the best ones look different depending on which one you pick up.

Each lens is cut on a different criterion —the input, the function, the site, the event, the beneficiary— so they are not mutually exclusive and asking "which one am I in" makes no sense. The useful question is another: how much infrastructure does what I am designing presuppose. That is the axis running through all five, and it has three degrees.

  1. StressEverything works, but under strain. There is energy, transport and a market, with occasional cuts and rising costs.
  2. InterruptionSomething fails and does not come back right away. Supply is cut, the truck does not come, the road is blocked for days or weeks.
  3. AbsenceThere is no network to restore. Whatever exists has to sustain itself with what is at hand and reproduce without industry.

Placing each lens on that axis shows something uncomfortable and necessary.

StressInterruptionAbsence
01 · Collapsonaut
02 · Hyperconsumption
03 · Hyperproduction
04 · Emergency
05 · Environment

Fully operationalWith limitsRequires what is missing

Collapsonaut design is the only one that crosses the entire scale, because it presupposes nothing more than available discards and a workshop. The other four assume, to varying degrees, the very industry whose interruption defines collapse. That does not invalidate them: it locates them. An honest manual says which scenario each thing is for, and this one says that four of its five lenses work while the world is still running.

Radikal Ecodesign focuses on the problems society and the environment have to face today, and proposes using the design of products and services as a tool to mitigate them. What follows is what each lens does and what kind of object can come out of it.

01 · Collapsonaut design

Whenever including waste in a production line is proposed, two answers always appear: "it is too expensive and not profitable enough", and the shorter "it can't be done", backed by "waste can't be standardised". Both are founded on the logic of a predatory consumption model, where products lose their sentimental value, are governed by fashion, and exist to turn a profit for whoever sells them.

This approach includes waste with the least possible intervention, aiming for it to make up the greater part of the product: in total matter, in functional role, or in aesthetic value. As an ideal proportion to reach: a maximum of 60% virgin material and a minimum of 40% recirculated material, measured by mass. The unit is not a detail: if the percentage is declared by volume, by cost or by visible surface, any product passes. It is measured by mass because mass is the only thing that can be weighed and argued about. Putting the material's morphological features to use, and working on one of the three axes —formal, productive, functional— does not replace that number: it accompanies it.

Here recycling is not a rhetorical device but a strategy for obtaining raw material for small-scale products. The know-how for each piece is freely accessible, as long as whoever reproduces it respects the inclusion of waste. The obvious question is where the value lies if anyone can manufacture it: it lies in the final quality, in the skill of whoever produces it, and in the scale, because near-unique pieces are worth more, not less. And one clarification prevents the contradiction with design by context: what is shared are processes and knowledge, not forms. The form is born in each community, with its own discards and its own workshops.

On money. It would be idiotic to deny that it is needed to survive in the current world. Every project in this approach aims at economic return, and not by accident: these are the ones that can fund the other four, which tend to require investments that are hard to justify.

02 · Design in the face of hyperconsumption

Faced with a consumerism that makes reducing consumption almost utopian, this approach creates products that collect and make usable the resources and energy we waste, in order to satisfy our current habits without extracting more.

The energy sources are already on the table: tidal, wind, geothermal, solar, impact. So are the usable resources: water, CO2, plant waste. The typologies that tend to appear are energy generators, charging stations, and self-sustained products. Escamandro and Chuva are two exercises in that direction.

The rule that governs the whole approach is the balance. Had Escamandro been designed at the scale of a cruise ship, it could generate energy and still worsen the vessel's fuel consumption simply because it has to be carried around. A product that harvests energy and spends more than it harvests is not a product: it is an excuse.

03 · Design in the face of hyperproduction

This approach seeks the cleaning up and, where possible, the disappearance of the environments generated by the excessive and uncontrolled production of waste. Four types of contaminated space were identified, each with its own objective.

  1. Contaminated inhospitable habitatsTo guarantee their integrity.
  2. Open-air dumpsTo improve their organisation.
  3. Contaminated habitatsTo improve their condition and make cleaning easier.
  4. Waste islandsTo make them disappear.

It is the approach with the widest product typology, because it depends entirely on which point of the waste life cycle one decides to act upon. It is also the closest to a real market outcome: the technologies and components to reach prototypes and small production runs already exist.

04 · Design for emergency

It responds to threats common to every species: fires, droughts, avalanches, tsunamis, earthquakes, cyclones, eruptions, biological and technological risks. The objective is always the same: to save lives, objects, services, systems, information, or whatever the situation demands.

  1. SheltersTo protect the lives of humans and fauna.
  2. Covers and protectorsTo protect objects.
  3. Communicators and pastimesTo keep us entertained while surviving. It is not a joke: waiting is designed too.

There is a condition that comes before any idea: the products of this approach must be perceived as safe, both by the people who will use them and by the companies that will make them. Without that perception there is no investment, and without investment there is no product. Habiacuático and the Anti-lift Spoiler are the two most advanced exercises in this branch.

05 · Design for the environment

It is the most delicate of the five, because it works on the interrelations between actors. Improving a relationship means modifying it, and modifying a relationship between species is playing god with incomplete information.

The exercises imagined so far give a sense of the scope: life rings for cetaceans, pruning paving tiles, a portable fire pit, mudguards for animals, a root protector for aquatic plants. None has yet moved past the conceptual stage, and I say so plainly because here honesty about how far something has come is part of the method.

That is why this approach carries a demand the others do not: prototype and field testing, without exception, before any manufacturing. The cost of a mistake here is not paid by the designer.

MAN C04/06 · IV

How it is designed

Radikal Ecodesign does not propose a formula for ideation. There are more than enough theorists who have already laid out paths, and all of them work. What it does propose is an order of questions to ask before getting there.

What follows is not a creativity method. It is the minimum sequence each approach needs so that a project rests on more than an intuition.

The single rule · Cost declaration

Before the stages there is one rule, and it holds for all five lenses: every project declares what it costs for it to exist. It is not a life cycle assessment —that requires data and professionals not always within reach— but an honest, verifiable declaration that fits on half a page.

What it costs to existMatter (mass and origin), manufacturing energy, transport, installation.
What it costs to keep existingMaintenance, spare parts, consumption in use, estimated service life.
What it gives backResource captured, waste diverted, damage avoided, relationship improved. In units, not adjectives.
What happens when it endsWhich cycle each part enters, and who takes care of it.
BalanceThe subtraction, said out loud. If it comes out negative, it is said anyway.

It serves two purposes. Inwards, it forces you to look at the whole project and not only at its function: an energy harvester that spends more than it collects dies here, and it is healthy that it does. Outwards, it is what separates an ecodesign project from a product with a discourse on top. If a project cannot fill in the card, it is not finished yet.

Stages · Collapsonaut design

  1. Identifying the discardWhat the technical and aesthetic qualities of the material are.
  2. Identifying the productive environmentWhat workshop-level processes exist to transform that material.
  3. Identifying possibilities and ideationFrom conceptualisation to product definition, with mock-ups and material tests.
  4. Production viability analysisThis is where the scale is set: single piece, single run, seasonal run. Different batches are not ruled out if the material environment allows it.
  5. Technical file and prototypingThe file is drawn up according to the needs of whoever will produce it. Prototyping begins once the file is underway and with the available material in sight.
  6. Going to marketThere is no expected typology. There is an expected outcome: the know-how needed to produce it again.

Stages · Design in the face of hyperconsumption

  1. Identifying the wasted resourceAn energy or a resource that is not being used, or is only half used.
  2. Listing possible usesAnd the actions needed to reach them: collecting, storing, transporting, cleaning, sorting, unloading.
  3. IdeationNo formula, with the two previous stages on the table.
  4. Cost-benefit balanceBetween what collection costs and what is actually collected. If the balance comes out negative, the project dies here, and it should.
  5. PrototypingPrototype scale is difficult in this branch. Material testing, on the other hand, is non-negotiable.

Stages · Design in the face of hyperproduction

  1. Target environmentWhich space we will act upon, what its characteristics are, and whether anyone is in charge of any phase of the waste's life.
  2. Identifying the wasteIts characteristics, its degradation needs, and whether its format can be modified.
  3. Point of attackWhich phase of the waste's life we will act on.
  4. IdeationThe product typology will depend entirely on the previous answer.
  5. Prototyping and technical fileGetting this far is encouraged: the technologies and components to do it already exist.

The point of attack deserves its own detail, because waste is not a state but a journey.

  1. DiscardThe moment waste is placed somewhere, whether a place meant for it or simply the open environment, which is what we are trying to avoid.
  2. CollectionNecessary when the discard went into the environment.
  3. StorageThe next step. A product with a load limit usually appears here.
  4. AggregationCollection carried out by a private company or a municipal body.
  5. StockpilingThose companies or bodies put the waste somewhere. It is unavoidable, and it is where this approach can contribute organisation, accelerate degradation, or make later use easier.

Stages · Design for emergency

  1. Identifying the threatPutting it in context: space, degree of impact, frequency.
  2. Identifying the vulnerableWhich objects or living beings take the impact, and what their economic and sentimental value is. Both values count.
  3. Damage reductionOnce the damage is understood, how to reduce it and what industrial design can contribute to that reduction.
  4. Ideation and intended typologyShelter, cover, communicator. The perception of safety is decided here.
  5. Investment-benefit ratio and prototypingNecessary to attract investors and for the eventual users to choose the product at all.

Stages · Design for the environment

  1. Identifying the problemIt depends heavily on our capacity to observe. Sometimes following a single actor and seeing what hinders the natural course of its actions is enough.
  2. Characterising the actorsCharacterising, by their biological qualities, everyone involved in the problem.
  3. IdeationNo formula, as everywhere else in this manifesto.
  4. Prototyping and field testingMandatory. It is the only way to analyse a product's real impact on the environment before multiplying it.
  5. Manufacturing, distribution and applicationIt can be designed at low, medium or high scale, and it tends to reach the market fairly easily.

Design by context

One condition runs through all five approaches and appears in none of the lists above: whoever designs from Radikal Ecodesign should do it from and for their own community.

This is not a moral rule, it is a matter of precision. Every culture is governed by a thermometer of shared values and goals that only those who live in it understand. Every community has its own economic, technological and discursive resources. If those variables are not known first-hand, a well-meaning project can hit the social fabric in ways nobody foresaw. That thermometer of values, incidentally, works rather well as step zero of design for emergency.

None of these lists is worth anything without looking first. Everything else —the file, the prototype, the run— comes after having seen something that was there and that nobody was attending to.

Matías Oliva Gerik

MAN C05/06 · V

Case · Ordna

A manual without a complete case is a hypothesis. This chapter exists so the method is exposed in a real project, with what worked and with what does not work yet.

Ordna is a modular system for urban waste management that acts as a relational enabler among people, waste, the home and the community. It supports source separation, sustains habits, reminds of collection schedules, adapts to each community's sorting scheme and brings formal and informal collectors into the collection circuits.

Which lens it enters through

Primary: hyperproduction. The project does not argue about how much is produced or consumed; it acts on what that scale generates. Secondary: design by context, because the sorting scheme is not imposed but adapted to each community, and collapsonaut, to the extent that manufacturing incorporates discards. The crossed reading is exactly what the five lenses allow: the same object changes focus depending on where you look from.

Point of attack on the waste cycle

Ordna acts on the first three phases and changes the fourth without touching it. On discard, because it decides where and how separation happens. On storage, because it is the load-limited product that appears in the home. On collection, because it organises the moment waste leaves. And by consequence on aggregation: if waste arrives separated and on time, the work of whoever collects it changes without redesigning the truck.

Actors involved

Human beings and human matter, obviously. But the case exposes a gap in the cast of actors from chapter II: collection labour —formal and informal— fits none of the five categories, and yet it is the actor that decides whether the system works. A manual is corrected by its projects, not against them.

Degree of collapse

It is fully operational under stress and keeps working under interruption: when the truck does not come, a system that organises and contains source separation is worth more, not less. Under absence of a collection circuit, on the other hand, it solves half the problem: it organises the waste but has nowhere to deliver it. Saying so is part of the method.

Stages covered

  1. Target environmentDefined: the urban home and its link to the municipal circuit and to collectors.
  2. Waste identificationMixed household waste, with sorting schemes that vary by community. To complete: prioritised typologies and estimated volumes per household.
  3. Point of attackDiscard, storage and collection.
  4. Ideation and definitionModular system, with an adaptable sorting scheme.
  5. PrototypingTo complete: scale reached, prototype materials, processes used.
  6. Field testingTo complete: whether it was installed in real homes, for how long, and what was observed.
  7. Technical file and productionTo complete: state of the technical file and intended production scale.

Cost declaration

What it costs to existMaterials and mass per module, recirculated percentage by mass, manufacturing processes, transport.
What it costs to keep existingEstimated service life, maintenance, replaceable parts, consumption in use if any.
What it gives backWaste actually separated per household per week; time or effort saved for collectors.
What happens when it endsWhich cycle each module enters and who takes charge.
BalanceThe subtraction, in the units above.
On the empty fields. They are visible on purpose. An incomplete, visible card says more about the real state of a project than a card filled in with comfortable estimates. They get filled when there is data, not before.

What the case taught the manual

Three things. That the hyperproduction lens needs an actor the cast does not have: collection labour. That design by context is not an ethical recommendation but a technical condition, because the wrong sorting scheme renders the whole system useless. And that the cost declaration is harder to complete than to propose, which is exactly why it has to be mandatory.

Matías Oliva Gerik

MAN C06/06 · Bis · Conclusions

Design manifesto

Working on this chapter

Come back later.