Designed Objects

VOLUME 10 ISSUE 3

The International Journal of

Designed Objects __________________________________________________________________________

Bio-Utilization, Bio-Inspiration and Bio-Affiliation in Design for Sustainability Biotechnology, Biomimicry and Biophilic Design CARLOS MONTANA-HOYOS AND CARLOS FIORENTINO

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Lorenzo Imbesi, Sapienza University of Rome, Italy Loredana Di Lucchio, University of Rome, Italy

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Jeremy Boehme, Common Ground Publishing, USA

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Genevieve Bell, Intel Corporation, USA Michael Biggs, University of Hertfordshire, UK Jeanette Blomberg, IBM Almaden Research Center, USA Patrick Dillon, Exeter University, UK Michael Gibson, University of North Texas, USA Loredana Di Lucchio, Sapienza University of Rome, Italy Jorge Frascara, Emily Carr University of Art and Design, Canada Judith Gregory, Institute of Design, USA; University of Oslo, Norway Christian Guellerin, L'École de design Nantes Atlantique, France Tracy S. Harris, The American Institute of Architects, USA Clive Holtham, City of London University, UK Lorenzo Imbesi, Sapienza University of Rome, Italy Hiroshi Ishii, MIT Media Lab, USA Gianni Jacucci, University of Trento, Italy Klaus Krippendorff , University of Pennsylvania, USA Bill Lucas, MAYA Fellow, MAYA Design, Inc., USA Ezio Manzini, Politecnico of Milano, Italy Mario Minichiello, University of Newcastle, Australia Guillermina Noël, Emily Carr University of Art and Design, Canada Mahendra Patel, Leaf Design, India Toni Robertson, University of Technology Sydney, Australia Terry Rosenberg, Goldsmiths, University of London, UK Keith Russell, University of Newcastle, Australia Maria Cecilia Loschiavo dos Santos, University of São Paulo, Brazil Louise St. Pierre, Emily Carr University of Art and Design, Canada

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Bio-Utilization, Bio-Inspiration, and Bio-Affiliation in Design for Sustainability: Biotechnology, Biomimicry, and Biophilic Design Carlos Montana-Hoyos, University of Canberra, Australia Carlos Fiorentino, University of Alberta, Canada Abstract: A post-industrial society requires novel design strategies. A possible scenario is the development of bioinspired and biophilic technologies as avenues for a new type of post-industrial design, focused towards ecology and sustainable development. In relation to design and industry, diverse approaches of bio-utilization (as in bio-technology) and bioinspiration in arts, architecture and design, as well as fields of research such as Bionics, and Biomimetics are discussed. A key reference to current bio-inspiration, Biomimicry proposes using nature as model, measure and mentor. Proposing a bio-affiliation, Biophilic Design explores the benefits of nature in the built environment. The influence of biotechnology and bio-inspired design thinking in design for sustainability is widely discussed, and several examples from projects within tertiary design education are described, as practical applications of the theory. Within this framework and from the point of view of design, biotechnology can have negative environmental implications (such as bio -utilization, or simply exploiting organisms to produce materials or substances for human consumption). However, biotechnology can also have positive environmental implications too, when used adequately within DfS objectives (for example, biodegradable and compostable materials from natural renewable sources). Main conclusions of the paper are that biological approaches can have both negative as well as positive environmental and social impacts. However, imitation of 1) form, 2) function, 3) process and 4) systems from nature, as well as adequate use of biological design approaches can help designers to develop projects which are more sustainable. Keywords: Bio-Utilization, Bio-Inspiration, Bio-Affiliation, Design for Sustainability, Biotechnology, Biomimicry, Biophilic Design, Tertiary Design Education

Industry and Biotechnology

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ndustry as we understand it today developed greatly since the early 1800s, within the period known as the Industrial Revolution, which started with the mechanical inventions of the late 1700s, initially developed for the production of textiles. Through the years, industry has evolved relying on technological advances, becoming one of the most important activities within our society. It is the segment of economy concerned with the large-scale, mass-production of goods and services for human consumption. Industrial developments are directly related to engineering, scientific and technological advances. In the industrial age, these new advances were found especially in three fields. The first was the use of new energy sources, such as gas and diesel motors, that in turn increased the use of petroleum. Second is the development of the chemical industry, with products such as paints, explosives, fertilizers, plastic materials and artificial fibers as nylon or carbon fiber, just to name some. The third main advance in industry was the development of the mechanical industry, in which the improvements in the metallurgic processes facilitated the production of tools and machines which became more and more precise and automated during time. Today, in the beginning of the 21st century, the constant development of new energy sources and new ways of harnessing and using energy, together with the development and gradual miniaturization of electronic information processing, additive manufacturing, and the advances in nanotechnology and biotechnology represent the biggest industrial and technological advances of our time. As defined by the United Nations Convention on Biological Diversity (as part of the United Nations Environmental Program, UNEP), “Biotechnology means any technological application that uses biological systems, living organisms, or derivatives thereof, to make or modify products or processes for specific use.” (UNEP 2011). In simple words, biotechnology is the use of life

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(bios, in Greek) to develop products or processes, which perform tasks for mankind. Living organisms can include plants, animals and micro-organisms. The human use of biological systems or processes varies widely, from the use of simple technologies based in natural processes, such as using microorganisms to produce yogurt or the composting of organic material, to advanced genetic modifications, which allow the cloning of animals and the replication of desired characteristics in different species. Biotechnology is today a widely explored field of research, and applications in industry also cover a broad scope, from food and medicine production, to the development of new materials and biomedical applications, among others. All these applications are often referred to as Industrial Biotechnology (AGDI 2014). In relation to design, and specifically Industrial Design, some of the most relevant applications of Industrial Biotechnology (as described by the Industrial Biotechnology Journal 2015) are:  Bioenergy, biofuels, biorefining  Biomass/feedstocks, agricultural sciences  Biomaterials: bioplastics, biofilms  Biobased chemicals and enzymes (bulk, fine, specialty)  Food, beverage, and feed processing  Cosmeceuticals and personal care  Fibers (pulp and paper; textiles)  Lubricants, surfactants, detergents  Automotive  Biodefense  Bioremediation  Bioprospecting and marine biotechnology  Nanobiotechnology (Industrial Biotechnology Journal 2015)

Industrial Design (ID) Recently the word design is used to describe not only the creation of objects or material things, but in general the planning of processes and systems in many disciplines. Within the context of this paper and in relation to the creative disciplines in arts and technology, Design is the planning or calculation of the form, dimensions, materials and general specifications of any man-made product, understanding by product not only physical objects, but also services, systems and spaces and user experiences (Montana-Hoyos 2010). This planning is done in different scales that go from micro to macro, from the conception of small utility products (industrial or product design) to the conception of dwellings (architectural design) and cities (urban design). Industrial Design, (sometimes equated to product design) is from a pragmatic and professional point of view the “service of creating and developing concepts and specifications that optimize the function, value and appearance of products and systems for the mutual benefit of both user and manufacturer” (IDSA 2014). Although the definition of Industrial Design is radically changing in this post-industrial era (ICSID 2014b) a previous definition by the International Council of Societies of Industrial Design (2014a) proposed “a creative activity whose aim is to establish the multi-faceted qualities of objects, processes, services and their systems in whole life-cycles. Therefore, industrial design is the central factor of innovative humanization of technologies and the crucial factor of cultural and economic exchange.” In the context of this paper, the ideas of whole life-cycles and innovative humanization of technologies are key aspects of ID, and especially in relation to industrial biotechnology and other diverse biological approaches, as will be discussed later.

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MONTANA-HOYOS & FIORENTINO: BIO-UTLIZATION, BIO-INSPIRATION, AND BIO-AFFILIATION

Bio-Utilization vs. Bio-Inspiration Two of the most commonly used techniques in Industrial Biotechnology are Bio-Utilization, and Bio-Remediation. As their names describe, the first technique is the use, or utilization, while the second technique is the remediation, or correction of something that is not functioning adequately, through the use of biological elements. An example from the paper-manufacturing industry is described by the Foundation for Water Research, www.fwr.org. The bio-utilization of industrial waste waters in production of high-value products such as enzymes and the use of enzymes in bio-bleaching to reduce the chemical consumption of chlorine-based bleaching agents present new environmentally sound technologies that can significantly minimize the environmental impact of the pulp and paper industry. (FWR 2005) On the other hand, bio-inspiration is the use of life and nature as a source of inspiration, especially in problem solving. Within the very broad category of bio-inspiration, Bio-Inspired Design (BID) has been proposed as the generic term that encompasses all the different approaches of design which is inspired by life, nature and living organisms. Inspiration in nature is not new, in the sciences, arts or design. From the early studies of Leonardo Da Vinci, to discussions of Fibonacci series and golden ratio in nature, arts and design disciplines have had a long history of inspiration in nature. Complete design movements such as the arts and crafts, modernism and art nouveau movements of the early 20th century, as well as the organicism of the 1950’s, are examples of this. Since the middle of the 20th century, many courses in engineering, architecture and design have used nature and biology as a source of ideas. Some of the most relevant cases in design education are the inclusion of bionics and biomechanics in many design courses in the 1970s and 80s, as exemplified in the now classic book, Design for the Real World (1971), by Victor Papanek, where he describes “biological prototypes in design” (186). Bionics, Biomimetics and Biomimicry are three widely developed bio-inspired disciplines, which are usually not differentiated. Most authors agree mainly on their similarities, especially learning from nature with an innovative and technological focus. However, possibly the main difference of biomimicry with other BIDs is that one of its main goals is the conservation of life and nature, thus related to environmental sustainability. Biomimicry has its origin in the Greek bios, life, and mimesis, imitation. Biomimicry proposes innovation inspired by nature Rather than being utilized, nature becomes a source of ideas and innovative solutions for human problems and needs. As proposed by Janine Benyus (1997), one of its main postulates is learning from nature, taking in account three basic pillars which can be summarized as: 1) nature as model, 2) nature as measure, and 3) nature as mentor.

Design for Sustainability Sustainable Development is today as the most desirable way of development, encompassing not only economic development, but also considering social and environmental development. However, its complexity and broadness are challenges for achieving it. Since more than a decade, many people have been trying to define what sustainability is, and how it can be measured, controlled, planned and implemented. Legislation and government policies are not the only tools to achieve sustainable development. Mass education for awareness and conservation, reevaluation of economic models, birth control, poverty eradication, and new sources of energy are essential issues to consider. However, sustainability is not only a problem of governments. Each and every individual has his responsibility, by changing lifestyles and consumption patterns, and thus, education for sustainability becomes today a major need in society. Furthermore, being design responsible for the planning and creation of our manmade environment, a focus towards sustainability in design education and practice is an imperative today. 3


Design for Sustainability (known as D4S or DfS), also known as sustainable design, not only considers the environmental aspects of design, but strives to take into account simultaneously the social and economic implications of design. DfS has its origins in ecodesign, derived from ecological design, is also known as environmentally friendly design, green design, or design for the environment (DfE). Ecodesign had its origins in the environmentalist and green movements which started in the 1950`s and 1960`s, and has been taught worldwide in most programs of Industrial Design since the early 1990`s. Many ecodesign tools have been developed, being some of the most used and known: a) life cycle analysis (LCA), b) Eco–indicator 99, c) design for disassembly, d) hierarchy of waste management, e) cradle to cradle, f) life extension, and g) dematerialization, among others. In relation to Industrial Design education and practice, ecodesign makes a strong emphasis in thinking about the whole life-cycle of a product, system or service. In other words, how the product is conceived, produced, used, and finally disposed of (or hopefully re-used, remanufactured or re-cycled), the energy and material consumption during these different phases, and finally the impact that this has on people and our environment.

Relationships between Bio-Utilization, Bio-Inspiration, Bio-Affilitation and Design for Sustainability As discussed previously, industrial production is the application of scientific knowledge to massoriented productive processes. This industrial production can be understood from different perspectives. For example, on one hand the development and use of new production processes, new materials and new energy alternatives permitted the reduction of heavy work and long working shifts for people. This on one hand has elevated the quality of man’s life, within the capitalist notions of progress and economic development. However, industrial production within a capitalist economic system driven by markets for a consumer society has also generated a limitless and saturated production of goods and services and increasing energy usage, which have also created mayor problems to our society, which are widely discussed in academic literature and mass media. Within this context, biotechnology can have negative, as well as positive aspects. Widely debated are ethical issues in biotechnology, as are the cases of animal cloning, human cloning, or the creation of new manmade hybrid species and genetically modified organisms. Furthermore, and especially in the context of industrial biotechnology (and where the main goal is an economic profit) the possibilities of biotechnology can be considered to go against nature. In many environmentalist circles, bio-utilization is equated to a bio-exploitation, and it appears that in an economy of over-consumption, if the use of natural finite resources is not enough, then a further exploitation of living organisms is required. On the other hand, advocates of biotechnology praise the environmental and economic possibilities of it. For example, the Organization for Economic Cooperation and Development (OECD), states that “biotechnology has clear environmental advantages and is economically competitive in a growing number of industrial sectors; it enables reductions of material and energy consumption, as well as pollution and waste generation, for the same level of industrial production” (OECD 1998). Furthermore, industrial biotechnology has been labelled “white” biotechnology, in view of its potential to provide clean and sustainable processes. As described by European Research Area Network (ERA) (2011), “Industrial Biotechnology is the application of biotechnology for the environmentally-friendly production and processing of chemicals, pharmaceuticals, materials and bio-energy. It is widely regarded as the solution to the search for alternatives for the diminishing amount of fossil resources such as oil and natural gas.” Furthermore, the Industrial Biotech Research and Innovation Platforms Centre (BIO-TIC) also proposes that “modern use of industrial biotechnology (IB) holds the key to a bio-based economy” (BIO-TIC 2014).

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In terms of sustainable development, the Australian Government explains some of the possibilities of industrial biotechnology, as follows:  Create new materials, such as plant-based biodegradable plastics;  Replace petroleum-based feedstocks by processing biomass using biorefineries to generate electricity, transport fuels (biofuels) or chemicals;  Modify and develop new industrial processes, such as by using enzymes to reduce the amount of harsh chemicals used in textiles and the pulp and paper industry;  Reduce the environmental impact of manufacturing; for example by treating industrial wastewater onsite using biological mediums such as microbes;  Provide energy savings by adding enzymes in detergents, allowing clothes to be washed in lower temperatures; and  Provide water savings through more efficient processes such as using enzymes to break down chemicals and reduce subsequent washing steps in the textile industry. (AGDI 2014) Although evidently industrial biotechnology has the potential to enhance sustainable development, the main critique is that it still works within traditional industrial paradigms and it does little to modify traditional economic growth and market-driven consumption patterns. Furthermore, most of the solutions proposed are many times bio-remediations (or the actions of correcting something), especially the reversal or stopping of damage to the environment. As many early ecodesign approaches, these bio-remediations are biological end-of-the-pipe solutions, which, instead of completely modifying the problems from conception (beginning-ofthe-pipe solutions), try to correct them at the end. For example, instead of reducing the generation of wastes, these bio-remediations try to deal with the same waste, but through biological mediums. In an interview with Janine Benyus, author of the book Biomimicry (1997), she stresses the differences between bio-utilization and bio-inspiration as follows: Biomimicry introduces an era based not on what we can extract from organisms and their ecosystems, but on what we can learn from them. This approach differs greatly from bio-utilization, which entails harvesting a product or producer, e.g. cutting wood for floors, wild crafting medicinal plants. It is also distinctly different than bio-assisted technologies, which involve domesticating an organism to accomplish a function, e.g., bacterial purification of water, cows bred to produce milk. Instead of harvesting or domesticating, biomimics consult organisms; they are inspired by an idea, be it a physical blueprint, a process step in a chemical reaction, or an ecosystem principle such as nutrient cycling. Borrowing an idea is like copying a picture—the original image can remain to inspire others. (Montana-Hoyos 2010, 67) Many diverse examples and case studies of innovative design through the use of biomimicry are widely available in specialized literature and popular media. Just to mention a few, one of the most known examples is the concept car developed by Daimler and Mercedes Benz in 2005, modelled from the skeleton and hydrodynamic study of the box-fish and which saves fuel due to reduced weight, inspired by the structure of the skeleton of the fish, and the improved aerodynamic efficiency inspired by the overall form of the boxfish (Daimler 2014) Also, companies like carpet manufacturer Interface, in the USA have used biomimicry successfully to create new product typologies and a wide variety of environmentally friendly products. One example is “i2,” a collection of carpets in which each tile is different, emulating a leaf-strewn forest floor, where nothing is identical. This product has great advantages to installation and repair, as it is not necessary to identically match the tiles (Interface 2014). Furthermore, many

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universities in the world have implemented biomimicry in design courses, and some of such courses, developed and taught by the authors during the last eight years (some of which are described individually and in detail in other papers) will be summarized later in this paper. Bio-inspiration operates at different levels in design, through imitation of concept, form, function, emotion, processes and systems from nature. Two of the most relevant examples of contemporary bio-inspiration at a systems, or macro level, and which are strongly related to design for sustainability are industrial ecology and cradle to cradle. Industrial Ecology is a systems-based multidisciplinary relationship between industry and ecology, which proposes analogies between ecosystems and human-made industrial systems (Graedel and Allenby 1995). Some of the most important analogies of industrial ecology with nature are in terms industrial ecosystems, metabolisms and relationships of symbiosis, where sharing of energy and resources for mutual support within a system is desired (mutualism), as exemplified by the widely cited example of Kalundborg industrial complex. The Cradle to Cradle (C2C) theory, developed by McDonough and Braungart (2002), proposes closed-loop life-cycles inspired by nature, for architectural and industrial production, as opposed to the traditional linear life-cycles previously known as Cradle to Grave. Our current efforts to recycle wastes are defined as down-cycling processes, or end-of-the-pipe solutions. C2C proposes design strategies from the beginning-of-the-pipe, in which products are intentionally designed to be up-cycled in closed-loop systems. In nature, nothing becomes waste and everything becomes part of the food chain (McDonough and Braungart 2002). As such, industrial ecology and C2C can be understood as bio-inspired design at the systems level, in which designers, architects and urban planners imitate how ecosystems work in nature, to develop more environmentally friendly and sustainable design solutions. With an adequate aim and properly used, biotechnologies can be a great complement for bioinspired sustainable design, within new thinking paradigms that are not the traditional industrial and manufacture paradigms, as proposed by the biomimicry, industrial ecology and cradle to cradle frameworks. For example, biological waste treatment centers, called living machines (McLennan 2004) and even organic waste bio-digesters which produce gas for self-sufficient houses are good examples, often found in sustainable architecture practice. In regards to bio-affiliation in design, the biophilia theory (Wilson 1984) proposes that we have an “inherent human inclination to affiliate with natural systems and processes, especially life and life-like features of the non-human environment.” This theory has inspired biophilic design, an “innovative approach that emphasizes the necessity of maintaining, enhancing and restoring the beneficial experience of nature in the built environment.” (Kellert, Heerwagen, and Maador 2008) This approach is based on scientific evidence that contact with nature has strong positive effects in human beings, in terms of healing from diseases, productivity at work, etc. As such, it tries to bring nature and natural elements back into the built environment. An interesting example which can be linked to the biophilia theory is current experiments in natural repurposing -or adaptive reuse and repurposing through the use of nature- (Scharoun and Montana-Hoyos 2013) which links bio-inspiration, bio-affiliation, and design for sustainability. A large amount of disused post-industrial infrastructure exists in cities worldwide. These abandoned or disused spaces pose issues for continued urban growth and community interaction. Whilst many former factories, railway sheds, housing and retail spaces have been flattened to make way for new infrastructure, solutions for re-purposing buildings in a natural way offer new options for sustainable community spaces. A specific case study is the work of designers Marco Casagrande and Vilen Kunnapu, who have theorized that the dying post-industrialized cities must return to nature in order to revitalize their city cores. The second generation city is the industrial city where the relationship with nature is either hostile/defensive, virtual or solely abusive…The third generation city is a question that we are looking for answers for right now…Third generation cities

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represent a harmonization with the urban ruin and the nature around them. The concept of the modern ruin as a means to address post-industrialized cities has been embraced by the “Ruin Academy” in Taipei. The Ruin Academy, housed in a five story abandoned apartment building in Taipei, is an attempt to re-think the industrial city and the modern man in a box. (Casagrande 2011)

Examples of Biomimicry, Biophilia and Sustainable Design in Tertiary Design Education Biomimicry, Biophilia and Design for Sustainability are today widely explored topics in the practice and education of architecture and design disciplines, and many examples can be found in specialized books, as well as design and architecture websites. In tertiary education, many universities offer courses under the titles of “biodesign,” “bionics and design,” “design inspired by nature,” “biomimetics,” and many others. Specialized networks include the Biomimicry Institute, the World Biomimetic Foundation, Biokon and the Bio-Inspired Design network, among many others. While it would be interesting to discuss some of these examples (and a simple web search can offer many), in this paper we will concentrate exclusively on examples from tertiary design education, developed by students under the authors’ guidance. Since 2006 and 2010, the authors have used Biomimicry and Design for Sustainability tools in different ways within Design education programs (Industrial Design, Visual Communication Design, Interdisciplinary Design and Human Ecology). Below are some examples to illustrate the possibilities of merging Biomimicry, Biophilia, and Design for Sustainability in tertiary design education. Two consecutive units (understanding a unit as an individual element, for example design studio, which is part of an entire course, for example Industrial Design course, within the Australian education context) were held during the academic calendars 2006-2007 and 20072008 in order to test and evaluate a proposal to use Biomimicry as basis for a Design for Sustainability unit in Industrial Design courses, developed by author 1. This proposal was tested within an Ecodesign and Sustainability unit, taught as part of the undergraduate Industrial Design course in the National University of Singapore. Details of these experiments can be found in a paper by Montana-Hoyos and Saiki (2008). However, a brief summary of the results and findings of these two units is presented hereunder.

Figure 1: “Biology to human needs” approach (also known as “biology to design,” or “solution-driven biomimicry”) Source: Montana-Hoyos and Saiki 2008

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Two specific strategies for undertaking the practical projects were tested over the two consecutive academic years: the strategy for the first project was based on biology to human needs sequence and the second strategy on a human needs to biology sequence. Summarized in 5 steps, the workflows or design processes within these two units were as follows. The biology to human needs approach (also described by other authors as biology to design, or solution-driven biomimicry) encouraged students to choose a natural element, analyze it, and then develop a design solution from it. The five proposed steps were: 1) biomimetic analysis, 2) biomimetic solution, 3) human problem analysis, 4) eco-design analysis, and 5) final proposal, as seen in figure 1.

Figure 2: Final results of projects by students who used the “human needs to biology” approach, where students had to propose design solutions, from the study of natural elements Source: Adapted from Montana-Hoyos and Saiki 2008

Subsequently, a human needs to biology approach (also explained by other authors as design to biology, or problem-driven biomimicry) encouraged students to choose a human problem, analyze it, and then develop a design solution from it by looking at comparable and best solutions found in nature. The five proposed steps were: 1) human problem analysis, 2) biomimetic analysis, 3) biomimetic solution, 4) eco-design analysis, and 5) final proposal, as seen in figure 3.

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Figure 3: “Human needs to biology” approach (also known as “design to biology,” or “problem-driven biomimicry”) Source: Montana-Hoyos and Saiki 2008

Several interesting projects providing sustainable solutions to human problems were developed under the general theme of waste. The students were encouraged to look for a problem (also described as problem-seeking), study how nature has solved the problem, and finally propose a solution inspired in nature. As an example to illustrate results of following this process, a package design project developed by students Toh Teck Chye and Ang Wei Quan was selected. The analysis this group made of existing shoe boxes in the market, combined with a biomimicry analysis of packages in nature (especially cocoons) and cycles in nature (as the water cycle) proved very useful to develop a new design for a shoebox which saved 30 % cardboard (as compared to standard shoe-boxes) and can be re-used as a shoe rack.

Figure 4: Final results of projects by students who used the “human needs to biology” approach Source: Adapted from Montana-Hoyos and Saiki 2008

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Another example that illustrates the use of biomimicry and biotechnology in design education is the project “glide,” developed in 2007 as a graduation project by (at the time) final year design student Terence Woon. Aiming to provide a new water experience, Terence proposed a new, bio-inspired water vehicle. In this case, not only the main form was biomimetic, inspired in the shapes of a stingray, but also its propulsion mechanism was supported by a bio-inspired technology recently developed from the propulsion of squids, which allowed a leisurely and slow propulsion, without the negative effects of traditional water propulsion systems found in vehicles such as jet skis or motor boats. This slow biomimetic propulsion also helped reduce the negative impact on the environment caused by destruction of coral reefs by propellers and strong jets. This student’s project won a RedDot design award in the concept category the same year.

Figure 5: “Glide,” a new water experience. Concept water vehicle by Terence Woon imitating the shape of a manta ray, and using a bio-technology which imitates propulsion systems in squids. Source: Terence Woon 2007

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An example which illustrates the influence of biomimicry and biophilia in design education was developed in 2008 by student Ng Aik Min, who designed the “tiles of life.” This project aimed to recreate a small ecosystem to bring nature into the interior environment. She collaborated with Dr. Benito Tan, botanist from the NUS expert in Bryophytes, and the Design Incubation Centre (DIC) further developed her project, and some of her experiments provided basis for some vertical gardens in the natural parks of Singapore.

Figure 6: “Tiles of life,” project by student Ng Aik Min which aimed to recreate a small ecosystem to bring nature into the interior environment. Source: Ng Aik Min 2008

In 2011, Lim Wan Xuan and Tang Xueling Jane, professional designers who were former students and took one of the biomimicry-based ecodesign and sustainability units described above, won a Liteon design award with “Eco Leaf,” a concept for a curtain which mimics tree leaves in absorbing energy, providing shade and filtering the light. An image of this concept is seen in figure 7.

Figure 7: “Ecoleaf” is a concept for an environmentally friendly solar curtain and light, inspired in the functions of leaves in trees. Source: Lim Wan Xuan and Tang Xueling Jane 2011

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As part of the masters in industrial design course of the University of Canberra, student Andrew Elliot developed a research about biomimicry in 2012, focusing on biological structures. Focusing on research about surfaces, he also studied foldable structures and rigid origami, to develop a suite of novel tessellations of surfaces, with diverse practical applications and innovative manufacturing techniques. As part of this research, he developed a chair which can be completely flattened for flat-packing, but which can be assembled with only one single action, as illustrated in figure 8.

Figure 8: Flat-packed and easy-assembly metal chair, as a result of the study of biological structures (surfaces) in combination with tessellations and rigid origami. Source: Andrew Elliot 2012

Also as part of the masters in industrial design course of the University of Canberra, student Greg Stewart focused his research in different biomimicry tools and their applications, during 2012 and 2013, developing a different project each semester. In line with the Water Challenge competition set by the Biomimicry Institute, in 2012 the student developed “Arqua,” a portable water filter concept inspired in local Australian water champions, such as the coroborree frog, and the lefthanded pondsnail (Physella Acuta), and depicted in figure 9. In his final semester, this same student focused on the study of biological structures, applying it to the field of impact resistance, hopefully to minimize injuries in humans. After studying diverse organisms and biological structures, namely the corraline algae (calliarthron cheilosporioides), the common platypus (ornithorhynchus anatinus), the giant water lily (nymphaeaceae) and the pummelo fruit (citrus maxima), he finally concentrated on the study of this last one. By replicating the internal microstructure and through the use of rapid prototyping, master in industrial design student Greg Stewart developed the “Bio-blox” concept for an impact resistant structure, with possible applications in products, as illustrated in figure 10.

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Figure 9: “Arqua” portable water filter concept, biologically inspired in local Australian nature. Source: Greg Stewart 2012

Figure 10: “Bio-blox” concept for an impact resistant structure, inspired in the pummelo fruit (citrus maxima) microstructure. Source: Greg Stewart 2012

As an example of studies related to bio-affiliation in relation to design, specifically furniture design, as part of her PhD research (under the supervision of author 1), Ms. Nurul Ayn Ahmad Sayuti is studying biophilia and biophilic design in furniture embedded with living organisms. As has been described in detail in a previous paper (Sayuti and Montana-Hoyos 2015) in order to understand possible relationships between furniture design and biophilic design, the researcher is exploring influences and perceptions of furniture designs embedded with living organisms (such as plants, animals and insects) in relation to biophilia and emotional design, by conducting an

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observation of 134 current furniture designs (sourced from design books and websites) and classifying them in order to propose an initial theoretical model, to then interview several of the furniture designers, as well as the normal public, to try to establish if the biophilia theory applies to furniture with living organisms, which is usually associated to ecodesign and design for sustainability.

Figure 11: Classification of 134 furniture designs with living organisms, as part of a study of influences of biophilia and biophilic design in furniture design. Source: Sayuti, Montana-Hoyos and Bonollo, 2015

In 2010, author 2 introduced the first Design for Sustainability interdisciplinary course (understanding a course as an individual element, for example Design for Sustainability course, which is part of an entire program, for example Human Ecology program, within the Canadian education context) at the University of Alberta, Canada, hosted by the Department of Human Ecology (Faculty of Agriculture, Life and Environmental Studies). In four years this unique course has hosted undergraduate students coming from diverse areas across disciplines such as industrial design, engineering, textile design, health sciences, visual communication, education and fine arts. Since then and to the present, biomimicry has constituted one of the most important components of the course, with an entire unit dedicated to explore principles and methods, and a final project that in many cases focuses in applying biomimicry as a conceptual tool. The examples below illustrate how students applied biomimicry to research assignments and design projects in diverse areas. Considering that all these students were undergraduate and many of them had no background in design, the level of results achieved by incorporating biomimicry to the design process is deemed remarkably innovative. As seen in figure 12, on the left, Student Jacob Dutton (Design Fundamentals, UofA) explored natural solutions for inspiring a packaging design project. On the right, Students Heba Maleki (Architecture, UBC), Sam Shapiro (Architecture, Dallhausie), Henry Dong (Human Ecology, UofA) and Max Hurd (Fine Arts, UofA) developed architectural solutions for natural

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ventilation inspired in beehives, as the final project for Design for Sustainability Hecol 493 course.

Figure 12: Examples of final projects for Design for Sustainability Hecol 493 course. Source: Fiorentino 2014

Depicted in figure 13 is a project combining memory alloy materials and fiber optics technology, for DfS Hecol 493, developed by students Rob Faulkner, Nicolas Perez Cervantes (Industrial Design) and Yue Qin (Human Ecology). The project Morpheus, a light system that mimics the way plants react to light conditions, used form and movement for a more efficient use of energy.

Figure 13: “Morpheus,” a light system that mimics the way plants react to light. Source: Fiorentino 2014

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As a final example of biomimicry and biophilia used for design for sustainability in tertiary design education, DfS Hecol 493 students Shauna Force, Karly Newbigging, and Kirsten Riewe (Human Ecology) developed “Fishy Night Light,” an idea inspired by bio-luminiscence in aquatic species. This small fishtank is meant for young children and has a double purpose; it uses glowing fish as a natural source to create a soft colored light environment, and, with biophilia in mind, uses fish as pets to expose children to natural life forms.

Figure 14: “Fishy Night Light” concept, a small fish tank for young children which uses glowing fish as a natural source of light, and as pets to expose children to living organisms. Source: Fiorentino 2014

Conclusions In conclusion, a post-industrial society requires novel design strategies within new paradigms different from the industrial one. A possible scenario is the development of bio-inspired and biophilic technologies as avenues for a new type of post-industrial design. Current transdisciplinary design practice and research has to deal with the problems derived from the industrial revolution, by exploring new technologies and design solutions within a respect for mankind and the environment. The early process of industrialization has proven to go in detriment of society while being very destructive to our natural resources and to our world. Because of this, new technologies should be focused towards ecology and sustainable development, creating a positive impact not only in the environment but in the communities that are involved. Industrial biotechnology within a traditional industrial paradigm and capitalist system, where the main goal is economic growth, can be considered to be a form of bio-utilization, or bio-exploitation, as most of the solutions are mainly bio-remediations, or biological end-of-thepipe solutions, which, instead of addressing the origins of the problem, tackle the final 16


consequences of it. However, with adequate aim and properly used, biotechnologies can be a great complement to bio-inspired sustainable design, within new thinking paradigms as proposed by biomimicry, industrial ecology and cradle to cradle, which are focused in systems thinking and whole life-cycles. Early stages of these alternative ways of thinking can be evidenced through some examples of student’s projects that have used biomimicry and biophilia as basis for design concepts or design studies, many times related to design for sustainability and ecology courses in tertiary education, as developed by the authors and briefly described in this paper. When focused more on social and environmental development, rather than only in economic growth, industrial biotechnology, biomimicry and biophilic design can be powerful tools for design for sustainability. Finally, paraphrasing the definition of design by ICSID (2010) previously cited, a possible scenario for a future bio-inspired design for sustainability could be an “innovative bionization of technologies,” which focuses not only on humans, but respects and protects all forms of life.

Acknowledgement The authors gratefully acknowledge the contributions of the people of Kobe Design University, the Biomimicry Institute, Biomimicry Alberta, Zygote Quarterly, the World Biomimetic Foundation and the Bio-Inspired Design Network, as well contributions by their students from the National University of Singapore, the University of Canberra and the University of Alberta.

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International Council of Societies of Industrial Design (ICSID). 2014b. “RenewID: Definition of Industrial Design Today.” Accessed July 26, 2014. http://www.icsid.org /education/events/calendar1341. Kellert, S., J. Heerwagen, and M. Maador. 2008. Biophilic Design, the Theory, Science and Practice of Bringing Buildings to Life. New Jersey: John Wiley & Sons Inc. McDonough, W., and M. Braungart. 2002. Cradle to Cradle, Remaking the Way We Make Things. New York: North Point Press. McLennan, J. 2004. The Philosophy of Sustainable Design. Kansas City: Ecotone Publishing. Montana-Hoyos, C. 2010. BIO-ID4S: Biomimicry in Industrial Design for Sustainability. Germany: VDM. Montana-Hoyos, C., and T. Saiki. 2008. “A Proposal for Biomimicry as Basis for an Integrative Pedagogy for Sustainable ID.” Paper presented in the National Education Symposium, Industrial Designers Society of America, Arizona, USA, September. Organization for Economic Cooperation and Development (OECD). 1998. “Biotechnology for Clean Industrial Products and Processes, towards Industrial Sustainability.” Accessed June 28, 2011. http://www.bio-economy.net/reports/files/oecd_biotech_for_clean _industrial_products.pdf. Papanek, V. 1971. Design for the real World, Human Ecology and Social Change. Chicago: Academy Chicago Publishers. Sayuti, N., C. Montana-Hoyos. and E. Bonollo. 2015. “A Study of Furniture Design Incorporating Living Organisms with Particular Reference to Biophilic and Emotional Design Criteria.” Academic Journal of Science 4 (1): 75-106. http://www.universitypublications.net/ajs/0401/html/DE4C321.xml Scharoun, L., and C. Montana-Hoyos. 2013. “Nature in Repurposed Post-Industrial Urban Environments.” The International Journal of Architectonic, Spatial, and Environmental Design 6 (3) 25-35. http://ijgase.cgpublisher.com/product/pub.240/prod.25. United Nations Environmental Program (UNEP) and United Nations Convention on Biological Diversity. 2011. “Definition of Terms.” Accessed July 26, 2014. http://www.cbd.int/convention/articles/?a=cbd-02. Wilson, E. 1984. Biophilia. Cambridge: Harvard University Press.

ABOUT THE AUTHORS Assoc. Prof. Carlos Montana-Hoyos: Associate Professor, Industrial Design/Faculty of Arts and Design, University of Canberra, Canberra, Australian Capital Territory, Australia Carlos Fiorentino: Lecturer, Department of Art and Design/Department of Human Ecology, University of Alberta, Edmonton, Alberta, Canada

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The International Journal of Designed Objects is one of six thematically focused journals in the family of journals that support the Design Principles and Practices knowledge community—its journals, book series, conference and online community. It is a section of Design Principles and Practices: An International Journal. The International Journal of Designed Objects examines the nature and forms of the objects of design, including the products of industrial design, fashion, interior design, and other design practices. As well as papers of a traditional scholarly type, this journal invites presentations of practice—including documentation of designed objects together with exegeses analyzing design purposes, purposes and effects. The International Journal of Designed Objects is a peer-reviewed, scholarly journal.

ISSN 2325-1379

Designed Objects

Designed Objects

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