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 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

designprinciplesandpractices.com
 EDITORS
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Jorge Frascara, 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 bio-
inspiration 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

I
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

The International Journal of Designed Objects

Volume 10, Issue 3, 2016, www.designinsociety.com, ISSN: 2325-1379
© Common Ground, Carlos Montana Hoyos, Carlos Fiorentino, All Rights Reserved
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THE INTERNATIONAL JOURNAL OF DESIGNED OBJECTS

(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, re-
evaluation 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.

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THE INTERNATIONAL JOURNAL OF DESIGNED OBJECTS

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

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 bio-
refineries 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-of-
the-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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THE INTERNATIONAL JOURNAL OF DESIGNED OBJECTS

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

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 2007-
2008 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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THE INTERNATIONAL JOURNAL OF DESIGNED OBJECTS

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

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

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 bio-
philic technologies as avenues for a new type of post-industrial design. Current trans-
disciplinary 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-the-
pipe solutions, which, instead of addressing the origins of the problem, tackle the final

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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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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

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