A brief history of the circular economy
Daniela Schwab
10. September 2024
The term is relatively recent but the concept is as old as mankind: the ‹circular economy› where goods are reused, recycled and repaired.
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Our throw-away and consumerist society is a recent phenomenon in the history of humanity. The way people handled materials and objects used to be driven by scarcity and shortages. Up until the Industrial Revolution in the late 18th century, it was normal to hand down clothes, repair tools, reuse building materials, melt down bronze objects to make new ones, and recycle glass containers. Whether they were made from fabric, metal, stone or glass – it was possible for all manner of things to have a second, third, or even infinite life. The exhibition takes a look at the methods of the circular economy past and present. Objects from the Stone Age to the present day show how their history can raise awareness of the value of things.
We were looking for photos of creatively repaired, upcycled or reworked personal everyday objects that you have given a second life to, for our digital showcase. The photos are displayed anonymously in a digital showcase in the exhibition. Here is a selection from the many submissions, for which we would like to thank you very much!
Cushions from second season fabric pattern books.
Hoover becomes a lamp.
Lamp that is 100% dimmable using the cover, made with materials from landfill sites.
Bar stool made from the innards (crankshaft, connecting rod, piston) of the Mercedes S65 AMG V12 Biturbo, with the matching carbon brake disc for a secure stand.
Handbag made from aluminium can tabs.
The second life of things. Stone, metal, plastic
National Museum Zurich
| 14.6.2024 - 10.11.2024
published on 13.6.2024
Repair, reuse and repurpose: A new exhibition at the National Museum Zurich takes a look at the methods of the circular economy – from the Stone Age to the present day.
Although the term itself is relatively new, the circular economy has existed since the beginning of human history. Our ancestors also produced waste and polluted the environment. But prior to today’s throw-away, consumerist society, the need to overcome scarcity and shortages determined the way in which we handled materials and objects. Wherever possible, they were recycled, repaired, refashioned or reused.
By presenting objects that were mended, reused and cherished across generations, the exhibition heightens our awareness of the value of giving a second life to things.
Evidence of materials being reused can be found as far back as the Stone Age. Damaged flint blades and stone hand-axes were not thrown away: they were specifically repurposed so that they could be used again. Later, bronze pots and jars, jewellery, tools and sculptures were hoarded in depots, melted down and transformed into coins and weapons, for example. Some objects, on the other hand, remained unchanged but were handed down and used from one generation to the next. Examples include a 17th-century cradle in which numerous members of the Waser family from Zurich were most likely first rocked to sleep.
Before the industrial mass production of textiles began, these too were used until they fell apart and were no longer serviceable. The well-to-do often gifted their cast-off clothing to servants, after which the remnants would be torn into rags and used as dusters, in paper production, or even as toilet paper. Particularly expensive garments worn by the nobility would likewise take on a new life in churches and monasteries as liturgical vestments, dresses for figures of the Virgin Mary, altar cloths or wrapping for relics.
Before the 20th century, the main factor driving the development of reuse, recycling and upcycling strategies was the scarcity of resources. Today, both excess production and environmental pollution are forcing us to think hard about the circular economy. New technologies can open up new opportunities in this respect: the internet enables us to swap and sell used objects. Contemporary fashion designers upcycle to breathe new life into old or use waste materials to create new clothing and accessories.
And the exhibition is making its own contribution to this ethos. Many of the structural elements were previously used for other exhibitions or can be used again in future. The exhibition runs from 14 June to 10 November 2024 at the National Museum Zurich. It will then go on display at the Forum of Swiss History Schwyz from 7 December 2024 to 27 April 2025.
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National Museum Zurich press contact
National Museum Zurich
+41 44 218 65 64
medien@nationalmuseum.ch
The exhibition will also be shown at the Forum of Swiss History Schwyz from 7 December 2024.
- Overall management Denise Tonella
- Project direction Jacqueline Perifanakis
- Curators and Concept Jacqueline Perifanakis, Daniela Schwab
- Scenography SKENO Kommunikation im Raum ° Szenografie, Mik Gruber
- Exhibition graphic LDSGN Designstudio, Thomas Lehmann
- Illustrations Claudia Blum Kabeljau, Zürich
- Project support Heidi Amrein, Luca Tori
- Advisory committee Günhan Akarçay, Heidi Amrein, Beat Högger, Markus Leuthard, Sabrina Médioni, Denise Tonella
- Project controlling Sabrina Médioni
- Cultural services and museum education Lisa Engi, Vera Humbel
- Technical management Henrike Binder
- Exhibition construction Ira Allemann, Ian Hügi, Marc Hägeli, Philippe Leuthardt, Sophie Lühr, David Schwitter
- Conservation management Tino Zagermann
- Conservation and mounting of objects Leonie Baumberger, Sarah Longrée, Jürg Mathis, Anna Jurt, Carolin Muschel, Ulrike Rothenhäusler, Alexandra Schorpp, Tino Zagermann
- Loans department Laura Mosimann, Claudio Stefanutto, Samira Tanner
- Object logistics and assembly Christian Affentranger, David Blazquez, Simon d’Hollosy, Reto Hegetschweiler, Aymeric Nager
- Photography Jörg Brandt
- Picture library Andrea Kunz, Fabian Müller
- IT | Web Alex Baur
- Media stations Alex Baur, Thomas Bucher, Ueli Heiniger, Pasquale Pollastro, Danilo Rüttimann, Tweaklab
- Marketing and Communication Andrej Abplanalp, Anna-Britta Maag, Sebastiano Mereu, Carole Neuenschwander, Alexander Rechsteiner
- Advertising graphic Manu Beffa Graphic Design & Art Direction
- Translations Marie-Claude Buch-Chalayer, Bill Gilonis, Marco Marcacci, Laurence Neuffer
Wir danken:
- Silke Langenberg, Orkun Kasap, ETH Zürich
- Walter Milan
- Museum Augusta Raurica
- Museum der Kulturen Basel
- Ufficio dei beni culturali, Bellinzona
- Defne Çetinkaya, Zürich
The Swiss National Museum would like to thank the Willy G. S. Hirzel Foundation for its support.