The Living Library was established as a transdisciplinary experiment to explore how principles of circularity can be translated into concrete practices of design, learning, and knowledge exchange. From the outset, it was conceived not merely as a collection of materials but as an evolving ecosystem in which cycles of growth and decay are integral to the process. Yet how can such principles be integrated, and where does one even begin? Setting up a material library in the conventional sense - with extensive categorisation systems and classes of materials - quickly proved to be unproductive. This was not only because the establishment of such a platform is immensely resource- and time-intensive, exceeding the relatively short two-year project period, but also because numerous highly detailed and well-founded material libraries already exist, both online and offline. Why, then, reinvent the wheel once more, out of sheer pressure for innovation?
Instead of creating a ‘conventional’ material library, the project focused on temporary cycles and the situatedness of materials. Yet even here, the sheer scope of the task appeared overwhelming. Which materials should be selected, and according to which criteria? In what condition should they appear: as raw matter, semi-finished products, or final artefacts? To provide orientation within this experimental framework, the project team eventually formulated a manifesto. Rather than prescribing a rigid framework, it defined soft guidelines that shaped the scope, methods, and ongoing outcomes and discourses of the Living Library.
Rule 1: Everything must become compost
All materials used or created within the Living Library must be fully biodegradable and capable of naturally decomposing into organic matter, contributing to soil enrichment without leaving harmful residues.
Rule 2: Everything must be sourced locally
All materials used in the Living Library must be grown, harvested, or produced within a ~50 km radius of the Bio Design Lab at the HfG Karlsruhe. This supports local ecosystems, reduces transport emissions, and strengthens community sustainability.
Rule 3: Everything must be sustainable and prevent harm to the environment
All materials and processes must prioritise long-term ecological balance. This means minimising environmental impact, using resources efficiently, and ensuring that materials are derived from renewable and natural sources with a focus on regeneration.
Together, these rules framed the Living Library as more than just an archive: they defined it as an epistemic tool that generates and tests knowledge through practice. They required constant reflection on the consequences of material choices and introduced constraints that opened up new creative directions. The compost rule, for example, not only limited the selection of materials - by excluding all non-compostable options - but also introduced a temporal dimension into the design process. Instead of striving for permanence, aspects such as temporality and transformation came into focus, with ‘decay’ itself becoming an active and visible stage of learning. The locality rule fostered unexpected collaborations as the 50-kilometre radius necessitated direct exchange with foresters, farmers, craftspeople, and small-scale industries in the region. This generated situated knowledge about existing material cultures - such as sheep’s wool networks, hemp processing, or forestry practices - and brought the tacit expertise of local actors to the surface. The sustainability rule added yet another layer of critical evaluation. Every material, process, or technique was assessed not only for its functional or aesthetic qualities but also for its ecological implications. Was it meaningful to work with a given material at all? And what value chains and systems already existed that needed to be acknowledged within the design process?
What became clear was that working with such a self-imposed set of rules was by no means simple. Composting processes cannot always be controlled or foreseen. Adhering strictly to an action radius of 50-kilometres appears almost impossible in a world of highly interwoven, global supply chains. Ultimately, such rules are always (in part) artificial and therefore subject to constant negotiation and discussion. They can contribute to finding creative ways of dealing with uncomfortable conditions. They may also foster the ability to endure ambiguities and even contradictions. The Living Library manifesto is therefore not a universal recipe but a situated framework that emerged from specific contexts of practice, pedagogy, and ecology. Its three rules shaped the project both tangibly and conceptually - guiding material choices, structuring collaborations, and provoking reflection on what it means to design responsibly. More than a set of guidelines, the manifesto itself became a tool of inquiry - tested, negotiated, and continuously redefined throughout the unfolding of the project. Its lasting value lies not in strict adherence but in the conversations, experiments, and insights it has enabled.