DESIGN INDUSTRIAL SI INDUSTRIAL DESIGN AND · PDF filecriza care nu a fost vazuta inainte:...

Analele Universităţii “Constantin Brâncuşi” din Târgu Jiu, Seria Inginerie, Nr. 2/2011

212

DESIGN INDUSTRIAL SI

ECHILIBRUL ECOLOGIC

Dan-Horia Chinda, Prof. Dr. Arh. Sef Departament Dezvoltare Strategica,

Miami, Florida, USA

Rezumat. Aceasta lucrare prezinta legatura directa dintre procesele de Productie Industriala pentru produse si dezastrul Ecologic la care suntem martori astazi. Principala contributie a acestei definitii a rolului proiectantului industrial in cadrul acestui proces si multiplele metode prin care proiectantul poate influenta si evita dezechilibrul ecologic. Din conceptul de proiectare si procesare a materialelor, de la ambalare si reciclare la transport, autorul defineste, in mod clar, implicarea proiectantului si atribuirea altor solutii. Cuvinte cheie: design, industrie, ecologic 1. DESIGN INDUSTRIAL SI ECHILIBRUL ECOLOGIC

Relatia dintre design si echilibrul ecologic este de o importanta majora. Productia bunurilor in sensul in care se adreseaza necesitatilor umane este un concept care este foarte bine primit, si este progresiv in continutul sau. Dar cand proiectarea este manipulare si mai ales instrument de solutionare a competitiei, despre care nu as putea spune ca este utila interesului consumatorului, ducand la o criza pentru supraproductie, are implicatii ecologice, profunde. Se produc tone zilnice de deseuri si, din nefericire, nu toate dintre acestea pot fi reciclate, sau in cazul in care acest lucru este posibil, atunci sunt necesare sute de ani pentru reciclarea naturala a acestora. Planeta este invadata de deseuri; problema reciclarii a devenit o stiinta majora in acest moment si mai ales pentru viitor.

INDUSTRIAL DESIGN AND ECOLOGICAL BALANCE

Dan-Horia Chinda, Prof. Dr. Arch.

Head of Strategic Development Miami, Florida, USA

Abstract. This work presents the direct link between the Industrial Production process of products and the Ecological disaster we are witnessing today. The main contribution is the definition of the industrial designer’s role in this process and the multiple ways the designer can influence and avoid the ecological imbalance. From the design concept to materials and processing, from packing and recycling to transportation, the author clearly defines the designer's complex involvement and offers solutions. Keywords: design, industrial, ecological 1. INDUSTRIAL DESIGN AND ECOLOGICAL BALANCE

The relationship between design and ecological balance is of major importance. Producing goods to the extent that they address human needs is a concept that is very welcomed, and is progressive in its content. But when design is manipulation, and especially the solving tool of the competition, which I wouldn’t say that serves the consumer’s interest, leading to an overproduction crisis, it has deep ecological implications. Daily tons of millions of waste are produced, and unfortunately not all of them can be recycled, or if they can then hundreds of years are needed for their natural recycling. The planet is invaded by waste; the recycling issue has become a major science at the moment and especially for the future.


213

Deseuri aruncate in natura

Depozitarea deseurilor in natura are

loc la nivel industrial, in lumea intreaga, lucru care duce la daune catastrofale, ireparabile. Planeta noastra trece printr-o criza care nu a fost vazuta inainte: incalzirea globala ca rezultat al arderii gazului, care pe langa cresterea nivelului apelor din cauza topirii zapezii duce la modificari majore ale temperaturii apelor si miscarea aerului ca efect direct; de fapt, in ultimii ani, aerul a cunoscut o intensitate neobisnuita si o frecventa a evenimentelor cum ar fi uraganele, tornadele, cutremurele si alte dezastre. Din ce in ce mai multe specii de flora si fauna au disparut sau au devenit amenintate, ca rezultat direct al procesului de poluare si supraincalzire.

Unul dintre indicatorii semnalati la nivel global, referitor la procesul de otravire a planetei noastre, ca rezultat al industrializarii nechibzuite a avut loc in Japonia, in anul 1953, atunci cand s-a demonstrat ca mercurul varsat in golful Minamata a otravit mii de pescari, producand malformatii copiilor acestora. Din acel moment, aceste dezastre au crescut in numar: dezastrul termonuclear din Pennsylvania, in 1982, sa nu uitam de Cernobal, in Ucraina, in 1986, mii de oameni otraviti in Bhopal, India, in 1984 si de firmele de medicamente din USA, o scurgere accidentala de toxine chimice, in Rin, cauzata de o firma de medicamente din Elvetia, in 1986, care a omorat fiecare creatura vie din raul care trecea prin Germania, Franta, Belgia si Olanda. Acest ultim dezastru a necesitat peste 5 ani de munca dificila pentru revenirea biologica. (V. Papanek: ”Verdele Obligatoriu”).

Waste disposed of in nature

Stocking waste in nature happens on a worldwide industrial level which leads to catastrophic, irreparable damage. Our planet is going through never seen before crisis: global warming as a result of burning gas, which in addition to the rising of waters due to the ice melting bring major changes to the temperature of waters and air movement as a direct effect; in fact in the last years the movement of the air has known unusual intensity and frequencies in hurricanes, tornadoes, earthquakes and other cataclysmic events. More and more unique species of fauna and flora have disappeared or have become endangered species as a direct result of the process of pollution and overheating. One of the first indications signaled on a global level, regarding the poisoning process of our planet as a result of misguided industrialization was in Japan, in 1953, when it was proven that the mercury spilled in the Minamata gulf had poisoned thousands of fishermen, causing genetic deformities in their children. Since then, these disasters have grown in number: the thermonuclear disaster in Pennsylvania, in 1982, let’s not forget Cernobal, in Ukraine, in 1986, thousands of people poisoned in Bhopal, India, in 1984 and by the chemical corporations in the USA, an accidental leakage of chemical toxins in the Rhine by a drug company in Switzerland, in 1986, which killed every living creature in the river that passed through Germany, France, Belgium and Holland. This last disaster needed over 5 years of hard work for an acceptable biological rebalancing. (V. Papanek: ”The Green Imperative”).


214

Dezastrul ecologic - Exxon Valdez

Petrolierul Exxon Valdez a distrus

viata salbatica de pe coasta din Alaska. Am amintit doar cateva dintre dezastrele ecologice, fara numar, care sunt importante in ceea ce ne priveste, in acest cadru, pentru a completa imaginea si anume balanta ecologica si de mediu este baza vietii umane pe Pamant si suntem pe deplin responsabili sa ne ingrijim de aceasta. Proiectarea este implicata in dezvoltarea produselor, si reflecta, in mod direct productia industriala, utilajele si noile echipamente, care au o influenta profunda asupra ecologiei. Proiectarea trebuie sa asume responsabilitatea controlului, sa opreasca si sa realizeze o legatura intre necesitatile umane, cultura si ecologie. Cand discutam despre poluare ca fiind un rezultat al produselor, ne gandim, in general, la fumul care vine din cosurile de la fabrici, de la fertilizatorii chimici care sunt toxici pentru omaneni, chiar daca ajuta la cresterea rapida a plantelor, anvelopele aruncate in raurile de munte si alte imagini dezolante, dar foarte reprezentative. Dar poluarea are radacini mai adanci atunci cand facem referire la productie, care este legata, in mod direct de procesul de proiectare, care, din nefericire, este permanent sustinut de acesta. Daca fiecare proiectant ar fi constient si responsabil ca in procesul de design, prin luarea deciziilor care fac referire la ce solutie trebuie aleasa, actiunile de poluare pe scara larga pot fi evitate iar contributia la protectia planetei s-ar simti in mod considerabil.

Victor Papanek in “Verdele Obligatoriu” defineste sase pasi directi prin care proiectantul poate controla magnitudinea poluarii care rezulta din fabricarea produsului, si anume:

Ecological disaster - Exxon Valdez

The oil carrier Exxon Valdez destroyed wild life on the coast of Alaska. I have remembered only a few of the countless ecological disasters that matter to us in this framework, in order to replenish the picture, namely the ecological and environmental balance is the basis of human life on Earth and we all have the deep responsibility to take care of it. Design is involved in the development of products, and it reflects directly in the development of industrial production, machinery and new equipments, that have a profound influence upon ecology. Design must assume the responsibility to control, stop and create a bridge between human needs, culture and ecology. When we talk about pollution as being a result of products, we generally think about the smoke coming from factory chimneys, chemical fertilizers that are toxic for man even if they help the rapid growth of plants, tires thrown into mountain rivers and other desolating but very representative images. But pollution has deeper roots when we refer to production, which is directly linked to the design process, which unfortunately is permanently sustained by it. If each designer were aware and responsible that in the design process, by making decisions that regard what solutions to choose, grand scale pollution actions could be avoided and contribution to protecting the planet would be felt considerably.

Victor Papanek in “The Green Imperative” defines six distinct steps where the designer can control the magnitude of the pollution that resulted from producing the designed product, namely:


215

2. ALEGEREA MATERIALELOR UTILIZATE IN PROCESUL DE PRODUCTIE

Acest pas este vital din mai multe motive, mai intai au un aspect estetic, din moment ce materialele si textura sunt foarte importante cand definim detaliile. Luand in calcul tehnologia fiecarui material, consumul de energie si poluarea colaterala la care duce, poate fi evitata poluarea majora.

Metalele utilizate la automobile, pe durata procesului siderurgic, creeaza o importanta poluare atmosferica din cauza carburantului sau electricitatii utilizate in furnale (care in cele din urma reprezinta carburant).

2. CHOOSING MATERIALS USED IN THE PRODUCTION PROCESS This step is vital because of many reasons, first it has an aesthetic nature, since materials and texture are very important when defining details. Considering the technology of each material, thus the energy consumption and collateral pollution it brings, great pollution could be avoided. Metal used in cars, during the siderurgic process, creates great atmospheric pollution because of the fuel or electricity used in the furnaces (which in the end means fuel).

Ceata cauzata de poluare /Smog caused by

pollution

Decizia proiectatului de a utiliza spuma poliuretanica pentru ambalaje si recipiente, farfuriile si paharele de unica folosinta, va aduce atingere stratului de ozon. Desigur, toate acestea creaza probleme in reciclarea lor. Stim ca toate spray-urile care contin CFC pentru a crea presiune in interiorul recipientului va distruge stratul de ozon (doar cateva cazuri in care, chiar de la inceput, prin alegerea solutiilor inteligente, astfel de efecte dezastruoase pot fi evitate). Chiar daca, in mod aparent, decizia proiectantului nu are legatura directa cu dezastrul ecologic, pe termen lung si datorita reactiei in lant, implicata in procesul de productie, rezultatul dezastrului ecologic va fi acelasi. Este obligatoriu sa fim responsabili in alegerea materialelor necesare pentru realizarea produselor, pentru cautarea celor mai nedaunatoare materiale din acest punct de vedere, utilizand din ce in ce mai multe

Poluare industriala/ Industrial pollution

The designer’s decision to use polyurethane foams for wrapping and containers, disposable dishes and cups, will bring destruction to the ozone layer. Of course all of these create problems in recycling them. We know that all sprays containing CFC in order to create pressure inside the container destroy the ozone layer (just a few situations where right from the beginning, by choosing smart solutions, such disastrous effects could be avoided). Even if, apparently, the designer’s decision is not connected directly to an ecological disaster, on a long term and due to the chain reaction involved in the manufacturing process, the result of the ecological disaster will be the same. Being responsible in choosing the materials needed to manufacture products is a must, searching for the most harmless materials from this point of view, using more and more natural or recyclable materials,


216

materiale naturale sau reciclabile, din moment ce le stim foarte bine clasificarea in cadrul „proiectului verde”, un concept utilizat pe scara larga in arhitectura si design, care este preocupat de protejarea mediului ecologic. 3. PROCESUL DE PRODUCTIE

Alegerea tehnologiei se incadreaza in aceeasi responsabilitate profesionala, etica, datorita faptului ca proiectantul trebuie sa fie constient de poluarea atmosferica cauzata de procesul tehnologic ales, prin pierderea gazului sau a lichidelor toxice, care s-ar putea scurge in pamant, afectand terenurile agricole si viata animala si, in mod direct sau indirect, viata oamenilor care traiesc in jurul, prin poluarea apei potabile a acestora.

Daca exista posibilitati pentru a alege tehnologii mai putin daunatoare, atunci este responsabilitatea proiectatului de a lupta pentru acest lucru, chiar daca pretul produsului poate fi usor afectat, dar acest lucru poate fi ajustat acolo unde nu exista daune ecologice. 4. IMPACHETAREA SI AMBALAREA PRODUSULUI

Probleme importante sunt implicate in solutionarea impachetarii produselor, pentru a le proteja pe durata transportarii produselor.

Daca utilizam spuma si materiale din plastic pentru a ambala produse reprezinta un pericol important pentru stabilitatea ecologica, datorita dificultatii reciclarii acestora. Daca analizam materialele utilizate pentru a ambala produse, orientandu-se spre natural, materialele biodegradabile sau reciclabile, respectand astfel conceptul Design-ului Verde, este o alta posibilitate pe care proiectantul trebuie sa-l protejeze mediul cu proiectarea sa.

since we know very well their classification under the name of “green design”, a conception largely used in architecture and design that is preoccupied with protecting the ecological environment. 3. MANUFACTURING PROCESS

Choosing the manufacturing technology falls in the same category of professional ethical responsibility, because the designer must be aware of the atmospheric pollution caused by the chosen technological process, by loss of gas or toxic liquids that may leak into the ground affecting agricultural lands and animal life, and directly or indirectly the people’s life that live around the area, by polluting their drinking water.

If there are possibilities for choosing less harmful technologies, then it is the designer’s responsibility to fight for this, even if the cost price of the product may be slightly affected, but this can be adjusted where there isn’t ecological damage. 4. PACKING AND WRAPPING THE PRODUCT

Serious problems are involved in solving product packing in order to protect them during transportation.

Using foams and plastic materials to pack products represents a great danger for the ecological balance, due to the difficulty of recycling them. Reconsidering the materials used to pack products, orienting towards natural, biodegradable or recyclable materials, thus respecting the Green Design concept, is another possibility that a designer has to protect the environment with his design.


217

Resturi din ambalaje din plastic/ Waste

plastic packaging 5. PRODUSUL INSUSI

In capitolele anterioare am prezentat rolul proiectantului in solutionarea crizei supraproductiei. Majoritatea produselor – in special cele electronice- invadeaza piata, sufocand-o, nu ca o necesitate reala, ci ca incercari de a atrage cumparatorul sa achizitioneze un aparat care are aceleasi performante, dar dintr-un punct de vedere estetic este putin diferit, solutionat superficial (aplica forme care „pacalesc” cumparatorul, il manipuleaza din punct de vedere psihologic, transmitand prin aceasta „vedere” un mesaj fals al calitatii imbunatatite, performanta superioara). Dar totul este doar extern, cu cosmetice ieftine. Un bun exemplu poate fi acela al radiourilor si al CD-urilor portabile. Sa spunem ca analizam aceeasi marime fizica, aceeasi abilitate pentru reproducerea sunetului, difuzoare, etc. Din punct de vedere functional, majoritatea produselor care apartin aceleiasi clase au aceeasi performanta tehnica. Dar la un anumit punct, apare saturatia, pentru ca radiouri-le nu se mai vand datorita faptului ca fiecare are acelasi tip de radio! Acesta este punctul in care intervine proiectantul. I s-a sugerat sa „pacaleasca” consumatorul. Acesta este un negustor care executa comanda producatorului. In prezent, relatia sociala cu consumatorul nu mai este una reala, cinstita, ci o relatie pe o singura dimensiune, se refera la realizarea profitului de la producator si, in al doilea rand, dar la fel de important, la acordarea locurilor de munca pentru angajatii implicati in procesul de productie. Componenta sociala si onesta, cea de solutionarea a necesitatii reale, este

NAS-D5HDBoombox, Sony/ NAS-D5HDBoombox, Sony

5. PRODUCT ITSELF

In the previous chapters I have showed the designer’s role in solving the overproduction crisis. Most products – especially electronic ones – invade the market, choking it, not as a real necessity, but as attempts to try to seduce the buyer to purchase a machine that has the same performance, but from an aesthetic point of view is a bit different, very superficially solved (applied forms that “trick” the buyer, manipulate him psychologically, transmitting through this new “look” a fake message of improved quality, superior performance). But everything is just external, cheap cosmetics. A good example could be radios or portable CD players. Let’s say we are looking at the same physical size, same capacity for sound reproduction, speakers, etc. Functionally, most products belonging to the same class have the same technical performance. But at a certain point saturation appears, that radio stops selling because everyone has that type of radio! This is the point where the designer intervenes. He is told to “trick” the consumer. He is the mercenary who executes the manufacturer’s order. Now the social relation with the consumer is no longer a real, honest one, but a one-sided relation, it refers to creating profit for the producer and secondly, but as important as well, offering jobs to workers involved in the production process. The social and honest component, that of solving a real need, is lost. The designer will try to give this radio a more alluring look, a plastic case treated to seem metallic, suggesting a solid structure, but actually it


218

pierduta. Proiectantul va incerca sa ofere acestui radio o infatisare mai incantatoare, o carcasa de plastic tratata pentru a parea metalica, sugerand o structura solida dar care, in realitate, nu este mai solida decat plasticul negru. Sunt adaugate cateva lumini care licaresc, dar acestea amintesc de bliţul electronic si de sintetizator, iar cumparatorul comun, necunoscator, este impresionat. Mai multe, partile reprezentative sunt vizuale si amplificate, sugerand puterea, latimea si asperitatea.

Astfel, putin se adauga pretului datorita staniolului artificial care induce in eroare, atrage clientul. Pentru a ramane pe piata la acelasi pret sau pentru a reduce putin in comparatie cu concurenţii, sunt indepartate cateva parti din interior, ansamblul este inlocuit cu carcase spiralate „cuplate”, care se inchid o singura data. Cand se sparg, totul este inlocuit, nu se repara. Aceasta competitie incorecta este un proces de catre proiectatul trebuie sa aiba grija, si sa incerce, in ciuda acceptarii proiectului ca o necesitate profesionala, sa gaseasca solutii mai bune care sa aduca valoare produsului si sa nu dezamageasca clientul. Aici intra in scena etica profesionala, pentru a accepta orice si pentru a castiga bani care sa achite facturile familiei sau, pentru aceeasi suma de bani, proiectantul cauta noi posibilitati, noi materiale care nu pun in pericol echilibrul ecologic, pentru a fi de „partea” clientului, pentru a avea raspunderea pe care o definesc cu placere, de fiecare data cand prezint proiectul si prezenta criza si responsabilitatea constienta, care „prin schimbarea produsului, ne schimba pe noi, ne schimba modul de viata”.

Alte exemple, in prezent, pe pietele Europene, Asiatice si Americane, exista peste 500 camere video care detin aceleasi performante tehnice, cu mici diferente, si anume etichete sau efectele ieftine pe care le indicam mai devreme, produse care prin realizarea lor distrug rapid echilibrul ecologic.

In emisferele nordice, unde iarna dureaza mai mult decat in alte tari, dar si in zone mai comune, cu munte si ierni cu

isn’t more solid than the black plastic. Some flickering lights are added, for they remind the strobe light and the synthesizer, and the average buyer, unknowing, is impressed. Moreover, the representative parts are visually and formally amplified, suggesting power, largeness and ruggedness.

So actually, a little is added to the cost price by that artificial tinfoil that misleads, seduces the consumer. In order to stay on the market at the same cost price or even reduce it a little in comparison to competitors, some interior parts are removed, assemblies are replaced with ”snap-on” screw carcasses, that close only once. When they break, everything is replaced, they are not repaired. This deceitful competition is a process that the designer must be aware of, and try, in spite of accepting the project as a professional need, to find better solutions that really bring value to the product and not deceive the consumer. Here is where professional ethics comes into play, to accept anything and earn the money that pays the family bills or, for the same amount of money, the designer looks for new ways, new materials that do not endanger the ecological balance, to be on the consumer’s “side”, to have this responsibility that I gladly define, every time I present design and the present crisis, as the conscious responsibility that “changing the product, it changes us, changing our way of life”.

Other examples: currently on the European, Asian and American market there are over 500 video cameras that have the same technical performances, with minimum differences, meaning labels or those cheap effects that I was referring to before, products that through their manufacture rapidly destroy the ecological balance. In the northern hemispheres, where winter is longer than in other countries, but even in the common areas with mountains and snowy winters, the rich use more and more the “snowmobile” for recreation, this being an act of social definition, of “statute”, but in using them they agitate nature, causing toxic and noise pollution. At first, this product appeared as a need for hunters in Canada and Alaska, for Eskimos, for workers at the Pole


219

zapada, cei instariti utilizeaza, din ce in ce mai mult „snowmobilul” pentru recreere, acesta fiind un act de definire sociala, de „statut”, dar prin utilizarea acestora, ei agita natura, producand poluare toxica si fonica. La inceput, acest produs a aparut ca o necesitate a vanatorilor din Canada, Alaska, pentru eschimosi, pentru lucratorii de la Pol si din alte zone care erau pline de zapada, o necesitate pentru a transporta sau salva vieti, pe munte. Desigur, aceasta mutatie a fost una rapida. In prezent, numarul de vehicule pentru zapada, de acest tip, a fost utilizat in scopuri de agrement, este mai mare decat numarul de vehicule de zapada utilizate pentru scopuri utile, de catre cei pentru care acest program a fost realizat initial. In prezent, exista si campionat mondial de snowmobile! Echivalentul acestui produs, dar realizat pentru apa, si anume salupele rapide, de apa, au aparut mai intai ca un produs de agrement care a distrus flora si fauna marina la o viteza de neimaginat, prin zgomot, invadarea intimitatii faunei si vanarea animalelor la distant de cuiburile acestora, dar si prin scurgerea gazului si benzinei, atunci cand sunt utilizate. In ultimul deceniu, diverse guverne (cu exceptia SUA!) au facut pasi in interzicerea utilizarii acestora in zone in care echilibrul faunei si florei sunt puse in pericol de o astfel de utilizare. 6. TRANSPORTUL PRODUSELOR

Problema transportarii produselor este critica si are mai putine solutii imediate, din moment ce astfel de transporturi sunt realizate cu nave, trenuri, avioane, camioane, toate acestea utilizand motorina, benzina sau electricitate (care in cele din urma utilizeaza motorina pentru generatoare). Unele transporturi pot fi reduse cu usurinta, dar datorita productiei economiei si a celei mondiale, solutiile sunt mai limitate. Aceste transporturi fac referire la furnizarea minereurilor de la mina catre fabrica pentru materii prime, produsele de la fabrica la centrele de distributie, de aici la magazinele de desfacere si, in cele din urma, la domiciliul clientului. Astfel, in anumite limite, cu atentie

and from other areas that had a lot of snow, a necessity for transporting or saving lives on the mountain. Of course, this usage mutation was a quick one. Currently, the number of snow vehicles of this type, used for recreational purposes, is much bigger than the number of snow vehicles used for useful purposes by those for whom this program was initially designed for. Now there are also snowmobile world championships!

The equivalent of the same product, but meant for water, namely water scooters, appeared at first as a recreational product that destroyed the marine flora and fauna at an unimaginable speed, with noise, intrusion in the intimacy of the fauna and chasing animals away from their nests, but also through gas and petrol leakage during their usage. In the last decade, different governments (USA not included!) have taken steps to ban their use in areas where the balance of the fauna and flora are endangered by such use. 6. TRANSPORTING PRODUCTS

The problem of transporting products is critical and has less immediate solutions, since such transportation is done with ships, trains, airplanes, trucks, all of which use Diesel fuel, petrol or electricity (which in the end use Diesel fuel for generators). Some transports can be easily reduced, but due to economy and global production, the solutions are more limited. These transports refer to supplying ores from the mine to the factory for raw materials, products from the factory to distribution centers, from here to outlet shops and, finally, to the consumer’s home. So in certain limits, with attention and care, fuel consumption costs could be reduced, at least on the consumer’s level.


220

si grija costurile pentru consumul de carburant pot fi reduse, cel putin la nivelul consumatorului.

Transport produse

7. DESEURI DIN PREZENTAREA PRODUSULUI

Din nefericire, produsele, cand nu mai sunt utile sau dorite de consumator, reprezinta o problema majora, poate cea mai mare problemă din acest lant creat de produs - procesul de productie. Ne gandim, cu tristete, la cimitirele de masini care sunt o sursa de poluare datorita degradarii acestora, in timp. Dar, pe langa asta, oamenii consuma din ce in ce mai multe produse ambalate in plastic, in materiale care nu sunt prietenoase cu mediu inconjurator, care creaza mari probleme. Tuburile catodice sunt foarte periculoase din cauza faptului ca acestea contin mercur. Si cine trebuie sa arunce aceste deseuri dupa ce produsul nu mai este bun? Consumatorul

In acest sens, dupa Conferinta Mondiala de la Kyoto, care a avut loc in 1997 referitor la criza ecologica mondiala, cunoscuta ca „protocolul de la Kyoto”, dupa doi ani de lupte diplomatice, au fost realizate tratate in care s-a stabilit ca in viitorul apropiat (fiecare tara producatoare are un termen limita specific, cu exceptia tarilor care nu participa) tuturor tarilor industrializate li s-a cerut reducerea gazului de emisie la 5.2 pana in anul 2012, astfel incat procesul incalzirii globale, distrugerea stratului de ozon si altele, sa fie reduse. Desigur, guvernul Bush a incalcat acest protocol, fara rusine, refuzand sa se alinieze acestuia, la acea data.

Transporting products 7. WASTE FROM PRODUCT APPEARANCE

Unfortunately, products, when no longer useful or desired by the consumer, represent a major problem, maybe the biggest problem in this chain created by the product-consumption process. We think with sadness about car cemeteries which are sources of pollution through their degradation in time. But beyond that, people consume more and more products wrapped in plastic, in ecologically unfriendly materials, that create big problems. Cathodic tubes are very dangerous because they contain mercury. And who has to dispose of this waste after the product is no longer good? The consumer.

In this sense, after the World Conference in Kyoto held in 1997 regarding the world ecological crisis, known as the “Kyoto protocol”, after two years of diplomatic fights, treaties were made in which it was established that in the near future (every producing country has a specific deadline, except countries that aren’t participants) all industrialized countries were asked to reduce emission gases to 5.2 by the year 2012, so the process of global warming, of destroying the ozone layer and others are reduced. Of course the Bush government shamelessly defied this protocol, refusing to align to it at that time.


221

Bidoane de tablă aruncate in natura si

utilizate de oameni

America, considerata ca fiind “Axa Ecocidului”, va ramane singura, in cazul in care Europa, Japonia si in prezent Canada vor pune presiune asupra presedintelui Putin, care, urmând exemplul „prietenului sau”, a refuzat, initial, sa participe, desi in urmatorii ani au existat discutii serioase si pareri optimiste referitoare la alaturarea Rusiei. Canada, care initial nu a dorit sa se alature, si-a schimbat recent pozitia si in septembrie 2006, a anuntat in mod oficial ca, incepand cu anul 2007, recomandarile protocolului vor fi implementate.

O alta problema discutata la conferinta face referire la produsele cu probleme serioase provocate de reciclarea lor, cum ar fi ecranele TV, propunerea a fost aceea ca reciclarea sa fie inclusa in costul de achizitie al produsului, dar va fi responsabilitatea producatorului sa le colecteze si sa le recicleze.

O familie obisnuita care traieste in tarile dezvoltate din punct de vedere tehnologic, produce intre 16 si 20 tone de gunoi pe an! Pe langa pericolul poluarii, exista si o mare pierdere de materiale care ar putea fi reutilizate, salvate, daca reciclarea este incurajata. Exista tari cum ar fi Japonia, tarile scandinave, Germania si altele, care ofera o atentie crescuta si strategica procesului de reciclare a materialelor reutilizabile, la nivelul guvernului si chiar al

Tin canisters disposed of in nature and used by people

America, considered as being the

“Axis of Ecocide”, is bound to remain alone, if Europe, Japan and recently Canada succeed to pressure president Putin, who following his “friend’s” example, also initially refused to participate, although in the following years there have been serious discussions and optimistic opinions regarding the alignment of Russia. Canada, which initially did not want to align, changed recently its position and in September 2006, has officially announced that, beginning with 2007, the protocol recommendations will be implemented.

Another problem discussed at the conference referred to products with serious problems created by their recycling, like TV screens, the proposal was for the recycling to be included in the buying cost of the product, but it must be the producer’s responsibility to collect and recycle them

A common family living in the technological developed countries produces between 16 to 20 tons of garbage per year! Besides the danger of pollution there is also a great loss of materials that could be reused, saved, if recycling were encouraged. There are countries like Japan, Scandinavian countries, Germany and others, that give a growing and strategic attention to the recycling process of reusable materials, at the level of government and even law.


222

legii. Din pacate, puterile economice mari

au solutionat problema deseurilor prin platirea tarilor de gradul trei sa accepte depozitarea acestora pe teritoriile lor. Astfel, costul pentru a curata China, care este una dintre cele mai mari victime ale acestei practici, dupa ce tara a fost poluata cu deseuri straine in 2004, a fost estimata la 136 miliarde dolari. Pe langa pericolul poluarii ecologice, poluarea directa, intoxicarea si poluarea populatiei, acesta este un alt pericol important. Acesti oameni saraci incearca sa reutilizeze deseurile, recipientele radioactive sau din industria chimica, care duc la dezastre nimicitoare.

Proiectele „Design verde” in arhitectura scandinava si, in zilele noastre, in alte parti, sunt dovada respectului si responsabilitatii speciale, care merita sa fie urmata, demostrand o atentie remarcabila in ceea ce priveste planeta noastra.

Sadly, the great economic powers have practiced solving the problem of waste by paying third-world countries to accept their storage on their territories. So, the cost of cleaning up China, which is one of the biggest victims of this practice, after the country was polluted with foreign waste in 2004, was estimated at 136 billion dollars. Besides the danger of ecological pollution, direct pollution, intoxication and poisoning the population, this is also a great danger. These poor people are trying to reuse the waste, radioactive containers or from the chemical industry, leading to very sad disasters. “Green Design” projects in the Scandinavian architecture and recently in other parts are proof of respect and special responsibility, worthy to be followed, showing a remarkable care towards our planet.

Casa cu panouri solare

Design-ul verde, sau “eco-design”

este o miscare in dezvoltare in cadrul arhitecturii, design-ului industrial si al design-ului interior, unde trebuie sa acordam atentie proiectelor care minimalizeaza poluarea si pericolele ecologice prin utilizarea materialelor avand cel mai scazut efect negativ asupra mediului. O parte importanta este reciclarea sau reutilizarea produselor, asa cum am mentionat anterior, dupa ce acestea au fost abandonate, aruncate de catre consumator. Daca gandirea initiala ia in calcul acest factor atunci cand alege materialele si tehnologiile de productie,

House with solar panels

Green Design, or “eco-design” is a growing movement in architecture, landscaping, industrial design and interior design, where the attention is to consider in the offered projects minimum pollution and ecological dangers by using materials that have the lowest negative effect upon the environment. An essential part is recycling or reusing products, as I’ve said before, after these are abandoned, thrown away by the consumer. If the initial thinking considers this factor when choosing materials and manufacturing technologies, choking the planet with these wastes can be reduced


223

inecarea planetei cu aceste deseuri poate fi redusa in mod substantial. Cresterea rapida a populatiei, pe de o parte si scaderea resurselor vitale pe de alta parte au facut in asa fel incat criza ecologica sa fie luata in serios. Design-ul verde are ca scop reducerea impactului agresiunii ecologice prin realizarea unor noi obiecte artificiale cu materiale naturale, tehnologicii de productie, mai putin daunatoare si, cel mai important, reciclarea materialelor si descoperirea unor noi surse de energie. Un important reprezentant al miscarii Design-ul Verde este E.F. Schumacher, care in Anglia apare ca fiind unul dintre cei mai activi ecologi din ultimii 20 ani, in cartea sa “Ceea ce este mic este Frumos”. Scrierile si lecturile sale sunt importante in lumea Design-ului Verde, fiind animate de dorinta de a defini sistemele de protectie pentru Mama Natura. Pe langa materialele sugerate spre a fi utilizate, procesele tehnologice alese, asa cum am mentionat mai sus, trebuie sa fie eficiente in termenii consumului energetic.

O solutie pe termen lung, care defineste eficienta, pe langa reutilizarea si reciclarea materialelor, este ideea de a utiliza materiale mai rezistente, de calitate mai buna, oferind astfel o sansa semnificativa. Desigur, aici intra in conflict cu producatorul care doreste sa utilizeze materiale care sunt cat mai ieftine si nu rezista mai mult de 3-4 ani, pentru a forta cumparatorul sa achizitioneze, astfel asigurand o piata continua, o productie continu, profit continuu.

Chiar daca reconsideram felul in care anumite produse sunt utilizate pe scara mondiala, putem aduce economii si modificari substantiale. Tarile dezvoltate incurajeaza utilizarea aceleasi masini de catre mai multe persoane, pentru a merge la lucru sau, in general vorbind, prin furnizarea unor benzi speciale pe autostrada pe care pot circula masinile care au mai mult de doi pasageri, astfel avand circulatie mai scazuta pe benzi si astfel eficienta transportului este mai mare si mai rapida.

Utilizarea unor materiale care prin degradarea naturala a lor produc surse de energie, gaze de combustie, sau revenirea la utilizarea fortelor naturii, elementelor

substantially. The rapid growth of the world population on one hand, and the decrease of vital resources on the other hand make this global ecological crisis to be taken more seriously. Green Design aims to reduce the impact of ecological aggression by building new artificial objects with natural materials, less harmful manufacturing technologies and, most importantly, recycling materials and discovering new energy resources. A great representative of the Green Design movement is E.F. Schumacher, who appears in England as one of the fiercest environmentalists in the last 20 years, in his book “Small is Beautiful”. His writings and lectures are valuable in the Green Design world, being animated by the convinced desire to define protection systems for Mother Nature. In addition to the suggested materials that should be used, the chosen technological processes, as I’ve mentioned before, must also be efficient in terms of energy consumption.

A long-term solution which defines efficiency, in addition to reusing and recycling materials, is the idea of using more durable materials, of better quality, thus providing a significant opportunity. Certainly here it enters in conflict with the producer who wishes to use materials that are as cheap as possible and do not last more than 3-4 years, in order to force the buyer to keep buying, thus ensuring continuous market, continuous production, continuous profits.

Even reconsidering the way some products are used on a global scale can bring savings and substantial changes. Advanced countries encourage that more people use the same car, in going to work or generally speaking, by providing special lanes on highways where cars that have more than two passengers in them can circulate, thus having a lower traffic on lanes and therefore transportation efficiency is higher and faster.

Using some materials that by natural degradation produce energy sources, burning gases, or a come-back to using the forces of nature, hydraulics, windmills etc., would be a source suggested by Green Design. Of course if to this we add using technologies that have


224

hidraulice, morile de vant, etc ar fi o sursa sugerata de Design Interior. Desigur, daca la acestea adaugam utilizarea tehnologiilor care au cicluri industriale ce se repeta si materiale reciclabile, reutilizabile chiar, ar fi o solutie care, daca va fi inceputa la nivel personal, poate genera o importanta sursa de economisire a resurselor si de a reduce dezechilibrul ecologic.

repeatable industrial cycles and recyclable materials, reusable even, it would be a solution which if started on a personal level could generate a serious source of saving resources and reduce the ecological imbalance.

Generatoare de vant

Ca o sugestie finala la ceea ce am

discutat mai sus, revenind la conceptul de design in care partile de produse pot fi reparate, inlocuite, ar aduce importante modificari. Aceasta idee porneste o reactie agresiva de respingere a marilor producatori pe scara mondiala, care-şi dubleaza venitul dintr-un produs, oferind un sistem de „Servicii”, in care partile distruse nu sunt reparate, ci inlocuite.

Distrugerea echilibrului ecologic este un rezultat direct al dorintei de castig, pe care magnatii o manifesta ca o politica directa si deschisa, pentru ca nu sunt interesati de situatia zilei de maine a planetei noastre, sau de viata din viitor.

Acest exemplu rusinos, la fel ca cel furnizat de „clanul Bush”, care desi erau constienti ca rezervele de petrol pe care doreau sa foreze in rezervele naturale din Alaska nu ar fi durat mai mult de cateva luni, acestia insistau sa implementeze acest proiect. Este dificil sa discutam despre aceste raspunderi umane in raport cu echilibrul naturii pentru care toti sunem responsabili,

Wind generators

As a final suggestion that I’ve mentioned earlier, returning to the concept of design where parts of products can be repaired, replaced, would bring big changes. This idea triggers an aggressive reaction of rejecting big producers on a global scale, who double their income from a product by offering the “Service” system, where broken parts are not repaired, but replaced.

Destroying the ecological balance is a direct result of the thirst for gain which great magnates manifest as a direct and overt politics, for they are not interested in tomorrow’s situation of the planet, of the life of our future.

This shameful example, like the one proven by the “Bush clan”, who although aware of the oil reserves they wanted to drill in the natural reserves in Alaska would not last more than a few months, kept stubbornly insisting on this project. It is hard to talk about these human responsibilities towards the balance of nature to which we owe our best, without going into political interpretations, because politics itself is a


225

fara a oferi o interpretare politica, datorita faptului ca insasi politica este reflectia dorintei de putere, profit si dominare.

REFERINTE: - “Verdele Obligatoriu”, V. Papanek,

Thames & Huston, 1995, ISBN05002784666

- “Criza Formei Estetice in Designul Industrial al Secolului XXI”, Prof. Dr. Arh. Dan-Horia Chinda, Editura Universitatii de Arhitectura Ion Mincu , Bucuresti

- “Solutii la Criza Designului Secolului XXI”, Editura Universitatara “Ion Mincu” , Bucuresti, 2010, ISBN 978-973-1884-77-6, Dr. Arh. Dan-Horia Chinda

reflection of the thirst for power, profit and domination. REFERENCES:

- “The Green Imperative”, V. Papanek, Thames & Huston, 1995, ISBN05002784666

- “Criza Formei Estetice in Designul Industrial al Secolului XXI”, Prof. Dr. Arh. Dan-Horia Chinda, Editura Universitatii de Arhitectura Ion Mincu , Bucuresti

- “Solutii la Criza Designului Secolului XXI”, Editura Universitatara “Ion Mincu” , Bucuresti, 2010, ISBN 978-973-1884-77-6, Dr. Arh. Dan-Horia Chinda

Date post:	09-Feb-2018
Category:	Documents
Upload:	truongkiet
View:	217 times
Download:	1 times

DESIGN INDUSTRIAL SI INDUSTRIAL DESIGN AND · PDF filecriza care nu a fost vazuta inainte:...

Documents