Since 2003, Kamikatsu in Japan has established a sustainable zero-waste practice that has achieved a recycling rate exceeding 80%. By exploring how the community has shaped itself around the zero-waste concept, this paper aims to enhance our understanding of zero waste in practice from a universal design perspective. Interviews and photo documentation were used to gather data. The zero-waste concept was not driven by technical solutions. Instead, the results highlight what initiatives contributed to the design of the zero-waste concept. Key themes presented include fostering a lifestyle shift, changing norms, creating co-located experiences, establishing an incentive system, and developing self-awareness routines. The paper also addresses the challenges and opportunities from a universal design perspective when applying zero waste, emphasizing the importance of designing for diverse needs while promoting long-term environmental sustainability. This research contributes to the understanding of zero waste practices, combining the ecological dimension with the social dimension of sustainable development.

Some products are considered to be ‘bad taste’ and therefore of less value. However, if we focus on what a product does to and for its users, rather than on what a product is, we can disregard superficial statements based on taste, and instead reach a better understanding of design. This reasoning is based on the relationship between ‘good taste’ and ‘good design’, terms which are sometimes confused and treated as synonyms. In this paper we explore the tension between ‘good taste’ and ‘good design’, and how designers can use that tension in the design process. We consider ‘good taste’ to be rooted in a subjective context of inherent values, whereas ‘good design’ arises from competence and is based on professional skill. ‘Bad taste’ is here exemplified by products associated with the lifestyles of rap artists and the subculture of bling. Inspired by de Bono's PO (1972, 1973) we created a thought-provoking brief for a design workshop for students. In the context of a course on trends, industrial design students were given the task of exploring how bling products are perceived in everyday life and proposing future bling scenarios. Their views on bling were compatible with how bling is presented in the media. However, when the students began to consider what the product does rather than what it is, they were able to use bling as a source of creativity for their own bling projects. What other design opportunities are overlooked by regarding products as being ‘bad taste’?

Despite increasing policy and industry focus on repairability, consumer repair behavior remains limited. This study examines this contradiction by analyzing user perceptions of repairable products through a survey-based approach (N = 68), focusing on behavioral, economic, and functional drivers of repair decisions. The results reveal a pronounced repairability paradox: while over two-thirds of respondents are willing to pay more for repairable products and strongly support extended product lifecycles, actual repair decisions are constrained by cost, time, and perceived difficulty. Durability concerns significantly reduce acceptance of recycled materials, highlighting the importance of performance trust in sustainable consumption. Additionally, while informational awareness strengthens long-term repair intentions, it does not significantly influence immediate purchasing behavior. This challenges the current focus on Design for Repair as a standalone strategy and underscores the need to integrate repairability with durability, cost-efficiency, and ease of use. By linking empirical data with behavioral and economic theory, this study provides actionable insights for designers, manufacturers, and policymakers seeking to promote more effective and realistic circular economy solutions.