18 Harnessing Biomimicry in Product Design for Higher Education Lessons from Workshop Biomimicry 101 for a Sustainable Future Jeremy Aston, Ana Duque, and Luciana Barbosa 18.1 INTRODUCTION This work is a reflection on the author’s participation in the workshop “Biomimicry 101—Designing for a Sustainable Future” at ESADA Granada, a course facilitated by Chris Gauthier, Theresa Millard, and Matthew Neiman in Granada (ES), accredited professionals as Manager of Environmental Sustainability, Creative Director, and Sustainability Analyst. The workshop was organised into five distinct and sequential modules, with a progressive approach to the content: from the presentation of the main concepts of biomimicry to the potential of its biological models, to observation in fieldwork, to the implementation of design thinking in practical work. The pre- sentation of various case studies and real projects demonstrated how learning with nature can be achieved and how the praxis of biomimetics presupposes a methodol- ogy of innovation. The fieldwork, in situ observation, aimed to verify some aspects of the survival of certain organisms and how they have found efficient and innovative solutions to survive. At the end of the course, we have realised a practical approach to design thinking, making a prototype, and extrapolating the lessons learned. This chapter is a proposal for reflection and discussion based on this experience and is organised into five parts:

1. The meaning of nature provides a contextualisation of the meaning of nature, the artificial-natural dichotomy (natural world and built world), and the scope of biomimicry in terms of its philosophical and practical essence. In the era of the Anthropocene, the depletion of the natural world and the consequent imbalance of its systems have led humanity to become aware of the implications of the built environment in its most varied expressions. We consider the importance of biomimetic practices in activating a new aware- ness of nature and sustainability. 288 DOI: 10.1201/9781032719290‑21 289 Harnessing Biomimicry in Product Design for Higher Education
2. Biomimicry: an inspiring science that explores the intersection of biology and technology through biomimicry, positioning it as a key driver of 21st- century innovation in design, especially in creating sustainable and efficient products. It highlights the potential of biomaterials and bio-inspired solu- tions, such as mycelium and lab-grown plant materials, while also address- ing the ethical concerns surrounding the manipulation of natural systems for human benefit, urging caution in balancing innovation with ecological integrity.
3. The Role of Design in Integrated Biomimicry highlights the critical role of design in integrating biomimicry, emphasising that biomimetic practices require designers to draw inspiration from natural systems to create innova- tive, sustainable solutions. It underscores the importance of interdisciplin- ary collaboration between designers, biologists, and engineers in academia and industry to overcome challenges, enrich design processes, and effec- tively implement biomimicry in education and product development for sus- tainable innovation.
4. Biomimicry tools for designers include several biomimicry practices using methods like the Biomimicry Design Spiral, which includes steps such as defining challenges, biologising functions, and emulating nature’s strategies to create sustainable solutions. By utilising nature’s patterns, taxonomy, and evolutionary lessons, even those without specialised biological training can develop innovative, bio-inspired products that enhance user experience and promote environmental sustainability.
5. Biomimicry for Product Design is the integration of biomimicry into prod- uct design that can occur at different stages of the design process, such as leading with biomimicry research, inspiring through expert collaboration, or embedding experts within the design team. By studying natural systems and principles, designers can create more sustainable, efficient, and innova- tive products, as exemplified by projects like bio-inspired orthotic devices, educational tools, and eco-friendly packaging. 18.2 THE MEANING OF NATURE Humans’ relationship with nature is multifaceted and historically deep. Beyond sur- vival and dependence on natural resources, human action in the natural world has always been intervening and transforming, representing the construction of the arti- ficial world in its multiple expressions. It is not our intention to delve into the concept of nature to its full extent, as there is a vast multiplicity of approaches from various fields of science, revealing the com- plexity of the concept and its implications. We approach the subject from the point of view of biomimicry, as this is the starting point for all its theory and practice, and because planet Earth is our ultimate homeland, in the words of Edgar Morin. There is an urgent need to raise awareness of the issue of climate change, which is the consequence of imbalances in the various ecological systems. Environmental organ- isations, supported by the scientific community, have issued severe warnings, and, faced with this escalating situation, it is possible that a certain feeling of helplessness 290 Handbook of Design and Industry and pessimism prevails, leading to denial and consequent non-action. We highlight the importance of biomimetic practices because they advocate a proactive, effective, and real plan, leading to a new awareness of ecosystem maintenance. In this way, we believe that the methods and results patented in biomimetic projects and products convey a sense of real action in building a possible future for the planet and all the beings that inhabit it. In addition to this change in the understanding of the natural world, we believe that biomimicry, according to Beynus, presupposes an approach based not only on biological principles but also on philosophical ones, understanding nature as physis,1 that is, an inherent and self-generating force that governs the natural order of the world. The word nature, according to its etymology, comes from the Latin natura and has a direct relationship with the act of being born, of creation. The Greek word for nature is physis, which includes human aspects. 18.2.1 beTWeen naTural anD arTificial The history of the impact of human intervention on the environment is as remote as the evolution of humanity. Homo sapiens developed in southern Africa around 260,000–350,000 years ago, living in dryland areas and migrating to different eco- systems. The need for food and shelter is thought to have led humans to inter- vene in some way in the multiple environments where they have lived and settled throughout history, especially since sedentarisation (Schlebusch et al., 2017 in Keune et al., 2022). Throughout the modern era, the Western world has emphasised the separation between culture, humans, and nature. The nature/culture divide reveals a dichotomy that places nature as a separate entity whose knowledge and conquest are for the benefit of humanity (Keune et al., 2022). Historian Donald Worster states that, dur- ing the Industrial Revolution, the biological classification of species and scientific exploration took place, thus the scientific rationalisation of nature (Worster, 1977: 2 in Keune et al., 2022). This rational way of perceiving nature is contemporary with other trends, namely Romanticism, which questions civilisation’s dominance over nature, idealising it and glorifying its purity and splendour of beauty. It is worth noting that the history of industrialisation and consequent technologi- cal advances has led to a distancing of humanity from nature and a denial of human dependence on non-human nature (Mathews, 2011). In the 20th century, anthropo- centric and biocentric environmentalist theories were defended, valuing humanity to the detriment of nature or highlighting nature as its untouchable system, equating the value of the human with the natural. Kuperus and Oele (2017) state that, in post- modernity, the notion of biotic2 nature and abiotic3 non-human nature is perhaps not yet clear enough. In the age of environmentalism, questions are being raised about concepts of nature, including the value of the human and the value of the natural, in short, a reflection on the existence of human life in the non-human biotic and abiotic world. About the concept of sustainability, it can be noted that the notion of reconnection aims to integrate socio-economic dynamics with ecological systems. It is impor- tant to establish reconnection strategies for all human societies that depend on the 291 Harnessing Biomimicry in Product Design for Higher Education ecosystem services4 provided by the biotic and abiotic environment (Kuperus & Oele, 2017). Relevantly, it could be said that the very notion of sustainability indi- cates that we should model and incorporate the entire built environment with nature, i.e., reorganise all productive and industrial sectors and systems. Mathews (2011) refers to another definition of nature where the human being has a new place: She uses the concept of inclusivity as a notion of a larger life system, contemplating the differentiation and co-relation of human and non-human aspects. In short, an environmental and moral ethic that places humans and non-humans on the same level. The author adds that it is important to rethink humanity’s place in the natural dimension also because it includes the artificial, which is an expres- sion that enhances the natural. “Nature will no longer be understood as something untouched by human hands, but rather as something deeper—something that can be expressed through our craftsmanship, just as it is in the work of the spider or the bee” (Mathews, 2011). 18.2.2 bioMiMicry In this context, the concept of biomimicry emerged with the biologist Janine Beynus (1997), considering that this new area would represent a new era, not in a relationship of extraction from nature, but of deep learning, mimicking the principles of the life of systems and their modes of adaptation. The biomimicry movement emerged around the publication by Benyus (1997) Biomimicry: Innovation Inspired by Nature. This work popularised the term, defining the principles for a possible method. Over the last few decades, Benyus’ work has stimulated a considerable amount of biomimicry research projects, as well as the production of literature on the subject. In a biomimetic world, we would manufacture as animals and plants do, using the sun and simple compounds to produce fibres, ceramics, plastics, and biodegradable chemi- cals. Our farms, inspired by the prairies, would be self-fertilising and pest-resistant. To find new medicines or crops, we would consult animals and insects that have been using plants for millions of years to stay healthy and nourished. Even computing would be inspired by nature, with software that “evolves” solutions and hardware that uses the lock and key paradigm to compute by touch. (Benyus, 1997, 10) Following in Benyus’ footsteps, economists and designers such as Amory and Hunter Lovins and William MacDounough7 think that the human species will necessarily have to rethink its place on the planet and in the universe. In the words of Benyus, “one vote in a parliament of 30 million (maybe even 100 million), one species among species” (1997, 16). On an ethical and moral level, biomimicry should be at the ser- vice of all beings who have their meanings and purposes. The intersection between biomimicry and product design could mean a paradigm shift in terms of creativity applied to design. Biomimicry is a practice that proposes a new technical culture underpinned by ecological principles, following an itera- tive thought process. It applies a conceptual and technological methodology to dis- cover and imitate the design of organisms. In the words of Fisch (2017), biomimicry 292 Handbook of Design and Industry promotes inspiration, escaping epistemological analysis, and its modality is onto- logical. Biomimicry is considered ontological because it relates to the fundamental nature of being or existence. By emulating processes found in nature, biomimicry reflects an understanding of the inherent principles and structures that underpin the functioning of living organisms. It goes beyond imitation, seeking to understand and apply the essence of natural solutions to various problems. In this way, biomimicry delves into the ontology of nature to find inspiration and solutions to technological and design problems. Thus, the object of biomimicry is to emulate the construction of an organism, its ecosystem strategies, and its chemical processes. To implement the design process, the Biomimicry Institute (AskNature, 2008) has developed a clas- sification system, a taxonomy organised according to eight operating processes and various subcategories. Mathews (2011) states that to practise biomimicry in a deeper sense is to under- stand the very will and interests of nature itself, assuming a change in what humanity wants for itself and this relationship with nature. 18.3 BIOMIMICRY: AN INSPIRING SCIENCE “I think the biggest innovations of the twenty-first century will be the intersection of biology and technology. A new era is beginning, just like the digital one was when I was his age” (Isaacson, 2011). The fusion between biology and technology, highlighted by Walter Isaacson, is shaping up to be the epicentre of 21st-century innovations. Biomimicry, going beyond aesthetics, is emerging as an inspiring science for design, particularly in products and industrial design. Since biomimicry is the empathetic and interconnected understanding of how life works, it is a practice that learns and imitates the strategies used by species living today, offering practical and scientific inspiration for design, engineering, and inno- vation (Biomimicry Institute, 2019). Benyus (1997) proposes a comprehensive approach, encouraging an in-depth understanding of the efficient adaptive strategies developed by nature over millions of years of evolution. The integration of biomimetic principles into industrial design promises to revo- lutionise innovation, enhancing not only aesthetics but also the functionality, effi- ciency, sustainability, and resilience of products. This approach represents a new paradigm for nature-centred design, driving an era of solutions inspired by biological evolution. 18.3.1 DeSigning for SuSTainabiliTy: DeSign, bioMaTerialS, anD bioMiMeTicS Design is a crucial process that translates ideas and materials into functional objects, structures, or systems with a clear purpose. In the context of sustainability, it plays an essential role in reducing environmental impact while offering innovative solu- tions. By integrating biomaterials and biomimetic principles, designers can move away from traditional processes, which are demanding in terms of resource use and 293 Harnessing Biomimicry in Product Design for Higher Education wear, and adopt more circular and ecological methods. With the growing awareness of environmental problems, the scarcity of resources, and the urgent need for sustain- able solutions, industries are undergoing a global transformation. In this context, we believe that design, biomimicry, and biomaterials can converge in a viable approach to sustainability. Biomaterials, derived from renewable biological resources, provide ecological alternatives to fossil fuel-based materials. On the other hand, biomimicry, which emulates nature’s strategies, offers a model for creating resilient and efficient sys- tems. In an ideal scenario, these disciplines allow designers to reimagine products, structures, and systems that not only meet human needs but also integrate harmoni- ously with natural ecosystems. In this quest for sustainable innovation, the design process connects scientific dis- coveries with practical applications. Some authors argue that the production of alter- native materials has given rise to a new design practice at the intersection of design, materials science, biology, and the arts, which can significantly change the role of the designer from a mere receiver to an active creator of materials (Karana et al., 2018). Neri Oxman’s vision of “Material Ecology” reimagines the future of design, linking it closely to ecological principles and materials science. Her work suggests that sus- tainable innovation can be achieved by treating materials as dynamic and intelligent entities capable of responding to their environment. By drawing inspiration from nature and harnessing technological advances, Oxman proposes a future in which design becomes more integrated with living systems, reducing environmental impact and promoting a more sustainable interaction between humans and their environ- ment (Doordan, 2021). 18.3.2 When DeSign MeeTS Science Antonelli (Kune, 2021) points out that the multiple forms of expression offered by bio-design, combined with the ability to re-evaluate and reinvent the paradigms of design and production, favour an environment conducive to innovation. Bio-design, therefore, represents a field where designers have a responsibility to conceive and develop sustainable products and habitats, involving themselves directly with living systems. This intersection between biology, art, architecture, and design is motivated by the opportunities that arise when working with living organisms, creating solu- tions that meet human needs and integrate natural ecosystems. The idea persists that design finds inspiration in nature to create forms. One exam- ple is the work of Jane Scott, which includes the development of fabrics that can change shape in response to environmental stimuli, taking inspiration from natural processes such as the movement of pinecones. Leading the Living Textiles Research Group at Newcastle University, Jane Scott studies how textiles can serve as a sus- tainable and responsive building material (Kune, 2021). Overall, Jane Scott’s work pushes the boundaries of design by integrating biological principles but also invites critical reflection on the implications and effectiveness of biomimetic approaches in the quest for true sustainability. In an interview (BIOTOPIA, n.d.), Carole Collet, founder and researcher at the Design & Living Systems Lab, a pioneering laboratory that explores the interface 294 Handbook of Design and Industry between biological sciences and design, says that the future of design and manufac- turing lies in biology and that there is an urgent need to radically rethink production systems so that they become more ecological, thus eliminating any kind of chemi- cal processes. Carole Collet has imagined synthetic and programmable scenarios in which the planet faces limited resources and plants, genetically modified, face not only food needs but also textile production. Her BioLace project proposes four genetically modified plants: tomato, basil, strawberry, and spinach, whose DNAs have been adapted to produce food from their aerial parts and lace fabrics from their roots (Dezeen, 2013). The pernicious action of plastics has been a relevant motivation for scientific research, and as the problems related to plastics become increasingly evident, the demand for biodegradable products has grown. It is important to remember that the production of plastics for the packaging industry has a significant impact, account- ing for approximately 40% of plastic production (Pohan et al., 2023). Polystyrene, or Styrofoam, is one of the most widely used products in packaging and is also one of the most environmentally damaging waste products. Despite being an effective solution for protecting food, electronics, or other fragile items, studies indicate that it contains substances that are harmful to human health. Prolonged exposure can cause neuro- logical effects and increase the risk of diseases such as leukaemia (Pohan et al., 2023). Some alternatives to these scenarios are mentioned; the use of mycelium, a com- ponent of fungi which offers a biodegradable alternative to polystyrene, stands out. This material is formed through a network of microscopic white fibres, is light, is mouldable, and has potential applications in packaging, furniture, and organic plas- tics. Studies indicate that mycelium-based materials are a viable solution for small and medium-sized enterprises (SMEs) dealing with plastic waste (Pohan et al., 2023). In the field of biomaterials, we mention Mylo, developed by Bolt Threads, as one of the innovative applications of biomaterials as a sustainable alternative to leather. Mylo’s production process includes the cultivation of mycelium in a vertical farm- ing facility powered by 100% renewable energy. This material is biodegradable and requires fewer resources, making it an alternative for industries such as fashion, furni- ture, and car interiors. Brands such as Adidas and Stella McCartney have incorporated Mylo into their products, demonstrating the versatility of this material. Bolt Threads also produces MicroSilk, based on the study of silk proteins produced in spider webs, determining their properties by studying DNA. Proteins inspired by these natural silks are developed using bioengineering to insert genes into yeasts. Spider webs con- tain silk fibres with relevant properties, such as high tensile strength, elasticity, dura- bility, and tactile softness (Bolt Threads, 2024). It is worth noting that, with today’s technology, it is possible to create these proteins without using the spiders themselves. MIT researchers have developed an innovative technique to grow wood-like plant material in the laboratory, offering a sustainable alternative to deforestation. This material can be chemically adjusted to have specific properties, such as density and rigidity, and be moulded into precise shapes via 3D bio-printing. Using plant cells such as Zinnia elegans, the process is much faster than growing natural trees and generates less waste. The research could, in the future, enable the creation of cus- tomised construction materials without the need to cut down trees (Beckwith et al., 2022; MIT, 2022). 295 Harnessing Biomimicry in Product Design for Higher Education VTT and ISKU have developed the first bio-composite chair using foaming tech- nology, initially created for paper production. Made from cellulose fibres, wood pulp, and polypropylene, the chair is a sustainable design object made from natural materi- als from Finnish forests. The bio-composite maintains good mechanical properties and can be moulded in 3D and worked with conventional tools. According to the company, as well as being light and resistant, the material is recyclable and versatile, with the potential to be used in furniture, packaging, and construction. According to the company, the future biotechnological revolution will transform industrial pro- cesses in the chemical, energy, food, pharmaceutical, and cellulose areas. At VTT, living cell factories are developed using microorganisms such as bacteria, yeasts, and moulds, as well as algae, plants, and plant cells, for the sustainable production of biomass, various ingredients, high-value chemicals, and proteins. VTT intends to expand these innovations to the market (VTT, 2024). We believe that the proposals of biomaterials and design, or the integration of life into design practices, are not yet a simplified solution and could generate ethical and moral controversies. In addition to the use of living constructions and systems, bio-design also encompasses synthetic biology, which can destabilise natu- ral ecosystems. Bio-design raises the ethical question of to what extent humans should attempt to redesign natural systems, especially when the long-term effects are unknown. William Meyers believes that the potential benefits and the need to adapt current practices to biological systems outweigh these risks. Thus, according to the author, integrating nature into design is an expected and promising approach for the future (Meyers, 2012). However, the ethical debate prevails, which revolves around respecting the intrinsic value of all living beings and balancing innovation with ethical limits. The desire to emulate and manipulate nature has deep historical roots in human civilisation, embodying our desire to understand, control, and benefit from the natu- ral world. From ancient agriculture to modern biomimicry and genetic engineering, we have sought to harness nature’s processes. However, this raises critical questions about whether we have really evolved from this mindset or whether we are just con- tinuing to shape nature in ever more sophisticated ways. Is there a real sense of evolution in the mindset, or are we just refining our tools of intervention? The concern is whether this emulation can turn into exploitation, where natural systems are manipulated for human gain, potentially to the detriment of ecological balance. 18.4 THE ROLE OF DESIGN IN INTEGRATED BIOMIMICRY The synergy between biomimicry and design, especially in the context of products, constitutes an innovative approach that transcends the simple manifestation of cre- ativity, demanding true innovation. The proposal aims not only to imitate natural morphology but, more intrinsically, to capture the essence of nature to achieve a bal- anced fusion between aesthetic and functional aspects, emphasising resilience as a central component. Within biomimetic design, creativity plays a crucial role, keeping the focus on the centrality of the human experience in the face of rapid technological transformations and global challenges. 296 Handbook of Design and Industry The practice of biomimicry can be categorised into three distinct levels. At the first level, it seeks to emulate the natural “form,” as proposed by Benyus. At the sec- ond level, biomimicry explores biological “processes” and their application in design and engineering. At the third level, the biomimetic approach reaches the “systemic” level, focusing on principles, patterns, and strategies present in ecosystems (Benyus, 2002). This classification highlights the complexity and scope of biomimicry as an innovative tool in contemporary design. In this way, we can affirm that design plays a fundamental role as a mediator and scenario builder; its presence is vital not only to incorporating biomimetic elements but also to conceiving scenarios and behavioural prototypes (Myers & Antonelli, 2018). This capacity goes beyond aesthetics, assuming a leading position in defining human interactions with products, especially in times of rapid environmental, politi- cal, and technological transformations. The design doesn’t just follow nature; it moulds human experiences through its unique mediation. Furthermore, design is recognised as a solver of challenges; although adaptation and imitation in biomimicry are fundamental, they present complex challenges for designers. Meticulously analysing biological solutions requires not only technical knowledge but also a creative mind capable of extracting biomimetic principles and applying them innovatively and sustainably (Benyus, 2009). In this context, design emerges as the solver of these challenges, transforming biological complexity into practical functionality. 18.4.1 iMporTance of (inTer)MulTiDiSciplinary TeaMS anD collaboraTiVe proceSS in bioMiMicry Design is usually a collaborative process, encompassing multidisciplinary teams, involving at least marketing professionals, engineers, and clients. On the other hand, biomimicry, by transcending the mere imitation of natural patterns, incorporates the collaborative logic of ecosystems in solving human challenges. This process requires a multidisciplinary approach, reflecting the efficient collaboration found in nature, where different species play specific roles for the collective benefit. Biomimetic design, on the other hand, also includes biologists, increases complexity, goes beyond simply viewing the design challenge from different perspectives (multidisciplinary), and also involves the integration of disciplinary knowledge (interdisciplinary) (Cohen & Reich, 2016). Effective biomimetic design must, therefore, reflect the diversity of nature, involv- ing biologists, designers, engineers, and other specialists. Effective collaboration between disciplines creates synergies of knowledge, overcoming disciplinary barri- ers and enriching the understanding of natural systems. The convergence of knowledge in academia is not just a strategy but an impera- tive necessity to drive biomimetic innovation (Vincent & Mann, 2002). Biomimicry, fuelled by different academic perspectives, transcends imitation, achieving sustain- able and ethical innovations through interdisciplinary collaboration. The multidisciplinary team is crucial to the success of biomimetic design, play- ing a central role in the holistic understanding of natural systems and the effective 297 Harnessing Biomimicry in Product Design for Higher Education application of biomimetic principles. Product design inspired by biomimicry is intrinsically collaborative and interactive. Close collaboration between designers and biomimetic experts is crucial to deepening the understanding of natural systems, driving an iterative process of adaptation and innovation (Vincent & Mann, 2002). The ability of design to integrate feedback and continually adjust is essential to the success of biomimicry in practice. The collaborative process in both academia and industry catalyses the practical translation of biomimetic principles. The continuous interaction between designers, biologists, engineers, and other specialists results in more efficient and ethical solu- tions, driving innovation and enabling the agile application of biomimetic concepts. 18.4.2 inTegraTing bioMiMicry inTo DeSign: challengeS anD opporTuniTieS The contemporary design landscape is constantly evolving, entering fields previously considered outside its traditional scopes, such as scientific visualisation, interfaces, sociological theories, and nanotechnology. This expansion requires essential collab- oration between designers and experts from different fields, resulting in a symbiosis between creativity and scientific knowledge (Myers & Antonelli, 2018). For the successful integration of biomimicry into education, an in-depth under- standing of natural systems is imperative, from a specialised education to gaining insights into biological and ecological principles. However, the effective introduc- tion of biomimicry encounters obstacles in traditional educational curricula, requir- ing the revision and adaptation of educational programmes to include biomimetic components (Vincent & Mann, 2002). The lack of specialised courses can result in a shortage of specialists, requiring the implementation of dedicated programmes and specialised teachers (Benyus, 1997). Biomimicry also requires access to spe- cific resources, such as laboratories, making it crucial to ensure their availability (Benyus, 2009). In academia, interdisciplinary integration involving biology, design, and engi- neering professors is advantageous. Practical, collaborative projects involving stu- dents in real biomimetic challenges provide a concrete application of the principles learned. Collaborations between academic institutions and the biomimetic industry enrich the students’ experience (Benyus, 2009). The lack of knowledge about biomimetics is a significant barrier, requiring efforts to overcome this gap. The complexity of biological processes requires in-depth research and the involvement of multiple specialists. Resistance to innovative approaches, both cultural and organisational, is an additional barrier (Benyus, 1997; Vincent & Mann, 2002). Inappropriate application of biomimetic principles can result in ineffective or unsustainable solutions. High initial costs and investments in research can increase expenses, but promise long-term efficiency and sustainability (Benyus, 2009; Vincent & Mann, 2002). Biomimicry offers opportunities to create innovative, efficient, and sustainable products in line with the principles of nature. Companies that adopt biomimicry increase their competitiveness by offering unique and environmentally friendly solu- tions. Biomimetic research contributes to the development of advanced materials, 298 Handbook of Design and Industry while educational programmes centred on biomimetics transform the mindset of designers, preparing a new generation for innovative and sustainable approaches (Benyus, 1997; Vincent & Mann, 2002). Thus, the successful integration of biomimicry into design requires a holistic approach, overcoming educational challenges, and practical barriers, and managing risks. The opportunities generated by biomimicry have the potential to transform design, driving sustainable innovation and aligning industrial design practices with the fundamental principles of nature. 18.4.3 WorkShop experience Participating in the “Designing a sustainable future BIOMIMICRY 101” workshop in November 2023 in Granada, over three intensive days, proved to be an immer- sive experience in innovation inspired by nature, where there was the opportunity to absorb not only the fundamental standards, methods, and tools on biomimicry but also to be guided by a multidisciplinary team led by experts. Focused observation and targeted research into the patterns and forms of survival refined over millions of years in nature proved to be extremely relevant to our profes- sional career as designers, researchers, and lecturers in design. The effectiveness of the workshop’s theoretical–practical format stands out from this experience, as does the ability to immerse oneself, learn, and practically apply biomimetic projects. The workshop not only laid a solid foundation but also projected a future vision, where we can see a deeper integration of biomimetic approaches into the teaching component and anticipate a more innovative practice aligned with the fundamental principles of nature. This experience reflects not only a successful immersion but also signals a promising and sustainable trajectory in design and higher education. 18.5 BIOMIMICRY TOOLS FOR DESIGNERS This research prompts the fundamental inquiry: “In what manner can designers effectively incorporate biomimicry into their professional practice?” This ques- tion gains significance because the typical educated designer often lacks special- ised training in biological sciences. The Biomimicry 101 workshop conducted in Granada unveiled compelling tools and perspectives that hold potential for adapta- tion, transfer, or integration into design practices. Particularly, these insights could be instrumental in developing novel products imbued with bio-inspired attributes, aimed at enhancing user experience, contributing to societal welfare, and fostering environmental sustainability. Biomimicry tools and perspectives: essential elements; evolutionary timeline; case studies; nature’s unifying patterns; biomimicry taxonomy; biomimicry design spiral. 18.5.1 eSSenTial eleMenTS In the process of translating nature’s strategies into design, the scientific practice entails three crucial elements: Emulate, Ethos, and (Re)Connect (Biomimicry. net, n.d.). These three foundational components are intrinsic to every dimension 299 Harnessing Biomimicry in Product Design for Higher Education of biomimicry, embodying its fundamental principles and fostering collaboration among individuals sharing common objectives. Ethos: This embodies the philosophy centred on comprehending life’s workings and crafting designs that consistently uphold and cultivate conditions conducive to life; (Re)Connect: This concept emphasises our inherent connection with nature, acknowledging that we are an intrinsic part of Earth’s interconnected systems. Practising (Re)Connect encourages us to actively engage with and spend time in nature, gaining insights into life’s mechanisms. This understanding cultivates a stron- ger ethos, enabling us to emulate biological strategies effectively within our designs; Emulate: This involves the scientific and research-driven approach of studying and replicating nature’s forms, processes, and ecosystems to foster the creation of more regenerative designs. 18.5.2 eVoluTionary TiMeline As per scientific estimations, considering the creation of Earth approximately 4.54 billion years ago (National Geographic, n.d.), if this vast timeline were condensed into a single year, the existence of modern Homo sapiens would equate to merely one day, spanning around 195 thousand years (Britannica, n.d.). Hence, in com- parison to other life forms, such as fish, which have thrived for approximately a month and a half, encompassing about 530 million years (University of Birmingham, n.d.), our presence on this planet is relatively nascent. This evolutionary context spans the development of Earth and the estimated count of 4 billion living species (Biology-StackExchange, n.d.), representing a substantial reservoir of case studies encompassing both thriving and extinct organisms, offering valuable insights for learning and exploration. 18.5.3 caSe STuDieS For novice designers exploring biomimicry design methodologies, numerous com- pelling case studies exist that elucidate their capacity for fostering innovative prod- ucts with resource efficiency, thereby enhancing societal well-being. Among the renowned examples, the bullet train in Japan and Velcro stand out as notable illustra- tions of this approach. One of the most renowned instances of biomimicry involves the redesign of bullet trains. Initially, the original bullet trains in Japan generated disruptive sonic booms upon exiting tunnels, causing inconvenience to nearby residents while also lacking optimal efficiency. Drawing inspiration from kingfisher birds, renowned for their sleek, sharp beaks that enable them to effortlessly dive into water without disturbing its surface, engineers embarked on a transformative redesign. They reconfigured the bullet trains to mimic the elongated, pointed front characteristic of a kingfisher’s beak. The resulting new design significantly mitigated noise levels and enhanced energy efficiency, marking a notable success in biomimetic engineering. A transformative moment during an outdoor excursion served as the catalyst for the inventor of the hook-and-loop fastener, commercially known as Velcro. 300 Handbook of Design and Industry George De Mistrials’ curiosity was piqued during a walk with his dog as both returned home covered in plant burs that adhered to their clothing and the dog’s fur. Intrigued by these persistent seeds, he conducted a microscopic examination, revealing their surface adorned with minuscule hooks. This discovery inspired him to develop the iconic adhesive fabric featuring one side equipped with hooks inter- locking with tiny loops on the other, resulting in the creation of Velcro (environment. co/biomimicry-examples). 18.5.4 naTure’S unifying paTTernS Nature’s Unifying Patterns represents an endeavour aimed at discerning the ten pivotal lessons derived from observations in the natural world that warrant incor- poration within a design framework (Biomimicry Institute, 2023). These patterns have been meticulously documented through the observation of diverse life forms inhabiting our planet. They serve as compelling sources of inspiration to inaugu- rate design endeavours and function as invaluable evaluation tools throughout the design process: Nature uses only the energy it needs and relies on freely available energy; nature recycles all materials; nature is resilient to disturbances; nature tends to optimise rather than maximise; nature rewards cooperation; nature runs on infor- mation; nature uses chemistry and materials that are safe for living beings; nature builds using abundant resources, incorporating rare resources only sparingly; nature is locally attuned and responsive; nature uses shape to determine functionality. This manifestation of nature’s intricate patterns is notably discernible across multiple case studies, wherein specific flora, insects, and fauna adeptly harness water amidst exceedingly arid environments, devise sophisticated mechanisms for self-preservation, and exhibit remarkable strategies to incentivise and enhance repro- ductive processes. 18.5.5 bioMiMicry TaxonoMy The process of identifying, analysing, and assessing natural patterns for design pur- poses is inherently intricate, requiring specialised skills for deciphering and cat- egorising the diverse traits and functionalities observed in living organisms. As a response to this complexity, the Biomimicry Institute has pioneered the development of a comprehensive classification system (see Biomimicry Taxonomy system. Source: biomimicry.org) to assist designers in defining functions from nature’s patterns. This system serves as a visual representation of the taxonomy of functions, effectively organising strategies and innovations derived from nature. Furthermore, it systemati- cally categorises the various methods through which organisms and natural systems address functional challenges, grouping them based on their interrelated functions (Biomimicry Institute, n.d.). 18.5.6 bioMiMicry DeSign Spiral The Biomimicry Design Spiral serves as a valuable tool for comprehending the essen- tial steps crucial for successful biomimetic design (Figure 18.1). It proves beneficial 301 Harnessing Biomimicry in Product Design for Higher Education when addressing a specific problem (referred to as a “challenge”) or identifying a design opportunity where drawing inspiration from biological models is sought. This tool shares similarities with established methodologies in design, such as the Double Diamond and Design Thinking, which designers, through formal training, are more familiar with. The Double Diamond, introduced in 2004, offers a framework for innovation. Its two diamonds symbolise a process involving key principles and design methods. It begins with an exploration of an issue at a broader or deeper level (divergent think- ing) and then progresses towards focused action (convergent thinking). The outcome is a clear, comprehensive, and visually descriptive representation of the design pro- cess (Design Council, n.d.). Design thinking, on the other hand, is a non-linear, iterative process employed by teams to comprehend users, challenge assumptions, redefine problems, and inno- vate solutions for prototyping and testing. It encompasses five phases—Empathise, Define, Ideate, Prototype, and Test—making it particularly effective for addressing vague or unknown problems (Interaction-Design.org, n.d.). The Biomimicry Design Spiral offers a concise delineation of fundamental com- ponents within a design process that draws upon nature’s principles as a frame- work for devising solutions. It outlines six pivotal steps that a design team ought FIGURE 18.1 Biomimicry Design Spiral. (Authors’ work.) 302 Handbook of Design and Industry to undertake while exploring biomimetic resolutions for a design challenge. These steps are presented sequentially, serving as an initial guideline. Nonetheless, design teams frequently navigate fluidly between these steps or revisit them iteratively. This practice is commendable since each step often unveils fresh insights that can either validate or challenge assumptions formulated in prior stages (Biomimicry.net, n.d.): Define: Precisely articulate the intended impact your design aims to achieve in the world (i.e., the challenge you seek to resolve). Define the specific criteria and constraints pivotal in determining the success of your design; Biologize: Analyse the fundamental functions and context that your design solu- tion must address. Rephrase these aspects using biological terminology, enabling an inquiry into nature for guidance and insights; Discover: Explore natural models encompassing organisms and ecosystems deal- ing with analogous functions and contexts as your design solution. Identify the strat- egies employed by these natural models that support their survival and prosperity; Abstract: Diligently examine the core features or mechanisms responsible for the success of these biological strategies. Translate these findings into non-biological terms, formulating them as actionable “design strategies;” Emulate: Identify recurring patterns and interconnections among the strategies discovered, focusing on the crucial lessons that should shape your solution. Develop design concepts grounded in these identified elements; Evaluate: Assess the design concept(s) against the criteria and constraints delin- eated for the design challenge. Consider the alignment with Earth’s systems, as well as technical and business model feasibility. Continuously refine and revisit preceding steps as necessary to generate a viable solution. 18.6 BIOMIMICRY FOR PRODUCT DESIGN Hence, arises the fundamental query of “when, where, and how within the design process can biomimicry find application?” As deliberated earlier, higher education in design often familiarises students with methodologies like Double Diamond and Design Thinking. However, these established methods do not explicitly delineate the specific placement of biomimicry within their frameworks. In contrast, while the Biomimicry Design Spiral exhibits a shared structure akin to the aforementioned methodologies, it also showcases an independent and distinct process (Figure 18.2). In an endeavour to conceptualise the integration of biomimicry and design meth- odologies into a unified process, we explored various concepts aimed at augmenting project activities within the framework of the Double Diamond: FIGURE 18.2 Double Diamond with biomimicry. (Authors’ work.) 303 Harnessing Biomimicry in Product Design for Higher Education Leading: Envisaging a multidisciplinary project where Biomimicry research serves as a precursor to the design process; Inspiring: Considering a transdisciplinary project model that involves inviting biomimicry experts at pivotal stages throughout the design process to offer insights and guidance; Embedded: Deliberating on an interdisciplinary project approach where biomimicry experts collaborate closely with designers, actively participating in the design process. These assumptions represent our observations, each posing inquiries regarding their implementation into higher education for design. The concepts of Leading and Influencing lean towards fostering collaboration and partnership with scientific insti- tutions or industries. Notably, these approaches do not necessarily disrupt existing project teaching models; rather, they involve sourcing partners with shared objec- tives and coordinated management. Conversely, the Embedded concept implies a fundamentally new course of action. This specialised approach in bio-inspired product development suggests the neces- sity for additional specialised facilities and human resources that typically extend beyond the scope of resources found within traditional art and design departments. Implementation of this concept would entail substantial structural modifications within educational frameworks. 18.6.1 SeVenTeen SuSTainable DeVelopMenT goalS (SDgS) It is common teaching practice to introduce students (at all levels of education) to the Seventeen SDGs, an agenda for 2030 adopted by all United Nations Member States in 2015. This agenda provides a shared blueprint for peace and prosperity for both people and the planet, now and in the future (United Nations, 2015). For product designers, this entails a more holistic approach that addresses society’s needs—such as ending poverty and other deprivations—while aligning with strategies to improve health and education, reduce inequality, and foster economic growth. All of this must be achieved while simultaneously tackling climate change and working to preserve our oceans and forests. Through higher design education, the role of a product designer is to meet user and customer needs by focusing on improved functionality, aesthetics, cost effi- ciency, and product life-cycle considerations. Beyond these core aspects, designers are encouraged to take a broader perspective on their potential influence, recognis- ing their role in proposing products that not only enhance people’s lives but also contribute positively to the environment. By integrating sustainable practices into their design processes, product designers can drive innovation that addresses societal challenges while minimising environmental impact, thus aligning with the larger goals of sustainable development. 18.6.2 MaSTerS projecT exaMpleS As a result, the expected teaching and learning outcomes for product design courses are increasingly orienting topics and themes, particularly at the master’s level, toward sustainable design thinking and biomimicry inspirations. This shift encourages 304 Handbook of Design and Industry students to explore how nature’s principles can inform innovative and responsible design solutions. The following examples from ESAD Escola Superior de Arte e Design and IPCA Instituto Politécnico do Cávado e do Ave showcase final projects from master’s students that illustrate the advantages of integrating bio-influences into the design process. These projects demonstrate how studying natural structures, mechanisms, and materials can lead to more efficient, sustainable, and innovative product designs that reflect a deeper understanding of ecological systems. The first exemplary project, “Design as a Preventive Strategy for Work-Related Musculoskeletal Disorders,” was completed by José Almeida at IPCA in 2023. His master’s research aimed to create a product solution to reduce musculoskeletal dis- orders (MSDs), with a particular focus on Carpal Tunnel Syndrome (CTS), which affects individuals who spend long hours working on computers, often adopting improper postures and performing repetitive movements (Almeida, 2023). Almeida’s design research led to the development of a personalised orthotic device that utilises additive manufacturing technologies (ADM), commonly known as 3D printing. This approach enabled the creation of complex, intricate structures that would be difficult or impossible to achieve through conventional mass production methods. As the product evolved, Almeida explored the use of lattice structures commonly found in nature (e.g., beehives, plants, and fungi) to design a lightweight yet durable product with a soft tactile quality. This bio-inspired lattice design not only enhanced the product’s functionality—by providing ergonomic support and reducing strain on the user—but also introduced a visually dynamic and aesthetically appealing form. As a result, the final product transcended its purely medical function, becoming an object of desire that combined practicality with beauty, thanks to its nature-inspired design (Figure 18.3). The second example, “Fixa, a Hybrid Pedagogical Product to Assist Creative Learning Activities,” was completed by Maria Melo at ESAD in 2021. This proj- ect tackled a significant challenge in modern primary education: the overwhelming amount of visual and cognitive stimuli that children in the digital age are exposed to, FIGURE 18.3 MSD/CTS bracelet. (Almeida 2023.) 305 Harnessing Biomimicry in Product Design for Higher Education which conventional teaching methods often struggle to compete with (Melo, M. J. C. F., 2021). After conducting extensive research, Melo proposed a hybrid pedagogical game designed for classroom use. The game combined a rewarding physical experi- ence with digital interaction, promoting student collaboration while simultaneously providing teachers with tools for individual assessment. During the exploratory phases, Melo sought mechanical solutions that would engage children more creatively than traditional toys, such as simple puzzles or ver- tical stacking blocks. Her research led her to study biological systems, particularly the ball-and-socket joints found in the human body, as well as in animals, birds, and insects. These natural joints offered a model for designing a system that allowed flexible and dynamic movement between connected pieces. Using 3D printing, Melo prototyped the concept to test the manoeuvrability of the components, experimenting with various materials to develop durable snap-fittings that could withstand repeated manipulation by young children. The final product was an interactive problem-solving game that rewarded chil- dren for building unique structures using universally connecting pieces inspired by the mechanics of human anatomy. By adapting the ball-and-socket joint for a new educational purpose, Melo’s design allowed for endless creative possibilities while maintaining durability and ease of use, making it both an effective teaching tool and an engaging learning experience (Figure 18.4). The third example, “Tailor-Made Packaging for Azores Food Produce,” was com- pleted by Patricia Santos in 2020 as her final master’s thesis at ESAD. Combining her passion for sustainable product design with her background in graphic commu- nication, Patricia sought a design challenge that would make a visual impact while incorporating material innovation through “smart packaging.” With personal ties to the Azores islands, she connected with the materials engineering department at Innovation Green Azores (IGA) and collaborated with local food producers to develop her proposal. Her objective was to design sustainable food packaging made from Conteira, an invasive plant that grows abundantly in the Azores, and to use it to create containers for locally produced gourmet food products (Santos, 2020). During her experimentation with Conteira, Patricia worked alongside research scientists at IGA who developed a process for breaking down the plant and adding liquid additives to create a mouldable pulp. This process, similar to how egg cartons are press-moulded from paper pulp, was inspired by nature—particularly birds like swifts and swallows, which build nests from mud and straw pulp (Rushwood, n.d.), and hornets, which construct their nests using a mix of saliva and wood pulp (Redit. com). Just as these creatures rely on the precise combination of ingredients to build their homes, the success of the final product depends on achieving the right balance of materials, proportions, and consistency of the Conteira pulp. With the support of IGA’s scientists and engineers, Patricia was able to explore the mouldable limits of the material and unlock its design potential. Although achieving an industrial-scale solution without access to advanced machinery was challenging, Patricia used manual prototyping methods and 3D com- puter renderings to present a tangible representation of the packaging concept. The final result showcased an innovative, sustainable packaging solution that local gour- met food producers could use, utilising a regionally sourced material and promoting a circular economy for the Azores (Figure 18.5). 306 Handbook of Design and Industry FIGURE 18.4 Fixa Hybrid Pedagogical Product. (Melo 2021.) FIGURE 18.5 Smart packaging for the Azores. (Santos 2020.) 307 Harnessing Biomimicry in Product Design for Higher Education 18.7 CONCLUSIONS The application of biomimicry methods in situ has generated a differentiated aware- ness of this vast global archive of organisms, revealing an enormous field of possi- bilities. In this way, we believe that the methods and results patented in biomimetic projects and products convey a sense of real action in building a possible future for the planet and all the beings that inhabit it. Biomimicry offers designers the chance to tap into nature’s 3.8 billion years of evolutionary wisdom, which, as demonstrated through case studies like the redesign of Japan’s bullet train and the invention of Velcro, can result in innovative solutions that are both efficient and sustainable. The Biomimicry 101 workshop held at ESADA Granada concluded after an intensive three-day session filled with immersive experiences. It introduced innova- tive teaching and learning methodologies, fostering an increased awareness of the immense potential this mindset holds for future design endeavours. Our primary goal as student participants in this event was to acquire knowledge and evaluate this experience. Furthermore, in our roles as educators, we aimed to propose and explore the potential implementation of these mechanisms within the realm of art and design higher education. The workshop emphasised the need for collaboration between designers and biological experts, a concept reinforced by the Biomimicry Design Spiral, which provides a structured pathway to integrate nature’s strategies into product development. As PhD holders and Specialists in Design, we swiftly realised that biomimicry demanded a deeper understanding of biology beyond the foundational knowledge typically imparted in basic education. This experience provided us with a founda- tion for reflection and the deepened need to analyse biomimicry’s role in design. As mentioned, students must acquire these tools and principles early in their education, not just in theory but also through project practices. Examples such as José Almeida’s bio-inspired orthotic device, Maria Melo’s hybrid pedagogical game, and Patricia Santos’ sustainable packaging show how biomimicry can be seamlessly integrated into design education. These projects demonstrate that understanding natural pat- terns and processes can lead to more efficient, innovative, and sustainable product designs. Young designers should master their art and design craft but understand that bio- mimicry design thinking will require collaboration with other specialised scientific disciplines. The integration of biomimetic principles into industrial design can revo- lutionise innovation, representing a new paradigm for nature-centred design. This approach drives an era of solutions inspired by biological evolution, enhancing aes- thetics, functionality, and the efficiency, sustainability, and resilience of products— ultimately contributing to a more sustainable and harmonious relationship between human design and the natural world. ACKNOWLEDGEMENTS This work is the result of the participation of ESAD (PT) lecturers and researchers Jeremy Aston5, Luciana Barbosa6, and Ana Lucia Duque7 in the Biomimicry 101 2023 workshop, which took place at ESADA in Granada (ES) between 7 and 9 November 308 Handbook of Design and Industry
6. The facilitators were Theresa Millard, Chris Ghautier, and Matthew Neiman, who presented the theoretical assumptions of biomimicry and emblematic case stud- ies that represent it. The sessions were highly collaborative and interactive, with in situ nature observation work being carried out and participants proactively involved in solving practical problems, with the results being presented afterwards. With clear and objective communication, the trainers and other participants showed their passion for the subject and their awareness of and deep respect for nature conservation. This experience was fundamental in effectively approaching the subject and understanding the assumptions of biomimicry practices as a territory of possibilities for both science and project culture. It should be noted that this markedly positive experience was only possible with the indispensable and dedicated support of the Erasmus office at ESAD (PT) and esad-idea (ESAD’s research centre). NOTES 1 Is a concept rooted in ancient Greek philosophy, especially in the works of thinkers such as Heraclitus and Aristotle, who explored the underlying principles that shape the natural world. 2 Biotic nature refers to the living elements that are part of an ecosystem, namely ani- mals, plants, fungi, bacteria and others. These living beings interact dynamically with each other and with the physical environment, forming complex networks of ecological relationships. Biotic dynamics are crucial for maintaining ecological balance in differ- ent ecosystems on the planet. 3 The concept of abiotic nature refers to the non-living components of an ecosystem, such as physical and chemical elements: water, rain, soil, temperature, sunlight and minerals. 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