Biophilic Design + Biomimicry by Shelby Burnett

Biophilic Design + Biomimicry

Biophilic Design and Biomimicry Shelby Burnett 2

Chapter 1 An Introduction to Biophilic Design Chapter 2 Learning from Nature 14 Patterns of Biophilic Design Chapter 3 Water, Biophilic Design, + the Built Environment Emulating Nature Chapter 4 Intersections of Neuroscience, Biology, + Design 14 Steps to Humane Architecture Chapter 5 Biophilia + Health Chapter 6 Restorative Design Chapter 7 Children + Nature A Closer Look: Bill Browning on Biophilic Design + Biophilia Chapter 8 Biologists at the Design Table Chapter 9 Nature as a Model + Mentor Chapter 10 Project 1 - Durkan Design Competition Chapter 11 Project 2 - Biomimicry Global Design Challenge Chapter 12 Sketches, Watercolor Studies, + Photographs Meet the Author

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chapter one This chapter provides an overview of biophilic design, including core concepts and examples. It outlines several principles of biophilic design and elements that can be used to bring biophilic design into the interior or the world of architecture and design as a whole.

an introduction to biophilic design Biophilia, a term coined by E.O. Wilson, refers to the connections that human beings subconsciously seek with the rest of life. Biophilic design, then, refers to the use of nature as an inspiration for design. It can be analyzed from three perspectives: as a theory, as a science, or as a practice. There are various dimensions, elements, and attributes that comprise biophilic design, such as: â&#x20AC;˘ Environmental features, including the use of color, water, air, sunlight, plants, natural materials, and views and vistas; â&#x20AC;˘ Natural shapes and forms, including botanical motifs; shells and spirals; shapes resisting straight lines and right angles; arches, vaults, and domes; tree and columnar shapes; and animal motifs; 6

• Natural patterns and processes, like fractals; sensory variability; age, change, and the patina of time; growth and effluorescence; or a central focal point; • Light and space, including the use of natural light, filtered and diffused light, light and shadow, reflected light, and spatial variability; • Place-based relationships, such as a geographic, historic, ecological, or cultural connection to a place; the use of indigenous materials; incorporating the spirit of a place; avoiding placelessness; and the integration of culture and ecology as a way to promote lifelong sustainability of a place; • And, evolved human-nature relationships, like prospect and refuge, order and complexity, curiosity and enticement, change and metamorphosis, security and protection, mastery and control, affection and attachment, attraction and beauty, exploration

and discovery, information and cognition, fear and awe, and reverence and spirituality.

Edward Osborne “E.O.” Wilson is an American biologist, researcher, theorist, naturalist and author. He is most famous for his research in the fields of sociobiology, biodiversity, and island biogeography), as well as coining the term “biophilia” and for advancing knowledge on the term “consilience,” the principle that evidence from independent, unrelated sources can converge to strong conclusions.

chapter two This chapter examines various examples of things in nature that have lead to improvements in technology or have inspired new designs. It shows how the answers to many of the worldâ&#x20AC;&#x2122;s problems can be found right in our backyard, just by looking to nature for inspiration.

learning from nature Looking to nature for inspiration can provide solutions for agriculture, climate change, energy, architecture, industrial design, transportation, medicine, and so much more. Janine Benyus, an American natural sciences writer, innovation consultant, and author, defines biomimicry as “the concious emulation of nature’s genius.” In her book titled Biomimicry, she discusses topics such as organic forms and structures, daylighting, ventilation, and nature’s wisdom. She describes how biomimicry can be divided into three categories, and that when incorporating biomimicry into design, one can draw inspiration from these categories, or a combination of the three. The three areas for inspiration are: • the form • the process • the system 10

Mimicking the form: Mercedez-Benz was inspired by the boxfish’s form for a fast, efficient, aerodynamic design.

Mimicking the process: Researchers are looking to human lungs for ideas on how to sequester carbon.

Mimicking the system: Inspired by the feet of the gecko, researchers have come up with a design for tape that is reusable and self-cleaning.

case studies WhalePower, based in Toronto, Ontario, is testing this wind-turbine blade at a wind-testing facility in Prince Edward Island. The bumps, or “tubercles,” on the blade’s leading edge, inspired by the bumps on humpback-whale fins, reduce noise, increase its stability, and enable it to capture more energy from the wind. GreenShield, a fabric finish made by G3i based on the “lotus effect,” the self-cleaning nature of lotus leaves, achieves the same water and stain repellency as conventional fabric finishes while using 8 times less harmful fluorinated chemicals.

Japanese engineers looked to the shape of a kingfisher’s beack to help redesign a bullet train. The new design saved 10-15% more energy because it was more aerodynamic and eliminated the loud booming sound that was produced when the trains would exit the train tunnels.

14 patterns of biophilic design Improving Health and Well-Being in the Built Environment Biophilic design can reduce stress, enhance creativity and clarity of thought, improve our well-being and expedite healing; as the world population continues to urbanize, these qualities are ever more important. Theorists, research scientists, and design practitioners have been working for decades to define aspects of nature that most impact our satisfaction with the built environment. â&#x20AC;&#x153;14 Patterns of Biophilic Design,â&#x20AC;? written primarily by Bill Browing, articulates the relationships between nature, human biology and the design of the built environment so that we may experience the human benefits of biophilia in our design applications. This paper moves from research on biophilic responses to design application as a way to effectively enhance health and wellbeing for individuals and society. 12

Nature in the Space 1. Visual Connection with Nature: A view to elements of nature, living systems, and natural processes. 2. Non-Visual Connection with Nature: Auditory, haptic, olfactory, or gustatory stimuli that engender a deliberate and positive reference to nature, living systems, or natural processes. 3. Non-Rhythmic Sensory Stimuli: Stochastic and ephemeral connections with nature that may be analyzed statistically but may not be predicted precisely. 4. Access to Thermal & Airflow Variability: Subtle changes in airflow across the skin, air temperature, relative humidity, and surface temperatures that mimic natural environments. 5. Presence of Water: A condition that enhances the experience of a place through seeing, hearing, or touching water. 6. Dynamic & Diffuse Light: Leverages varying intensities of light and shadow that change over time to create conditions that occur in nature 7. Connection with Natural Systems: Awareness of natural processes, especially seasonal and temporal changes characteristic of a healthy ecosystem.

Natural Analogues 8. Biomorphic Forms & Patterns: Symbolic references to contoured, patterned, textured, or numerical arrangements that persist in nature. 9. Material Connection with Nature: Materials and elements from nature that, through minimal processing, reflect the local ecology or geology and create a distinct sense of place. 10. Complexity & Order: Rich sensory information that adheres to a spatial hierarchy similar to those encountered in nature. Nature of the Space 11. Prospect: An unimpeded view over a distance, for surveillance and planning. 12. Refuge: A place for withdrawal from environmental conditions or the main flow of activity, in which the individual is protected from behind and overhead. 13. Mystery: The promise of more information, achieved through partially obscured views or other sensory devices that entice the individual to travel deeper into the environment. 14. Risk/Peril: An identifiable threat coupled with a reliable safeguard

chapter three This chapter examines how incorporating water in a space, whether it be an interior or exterior space, can provide benefits to the individuals that inhabit it. It outlines multiple ways to bring water into a space and aid in connecting humans to nature. This chapter outlines different elements of biomimicry and methods by which to emulate natureâ&#x20AC;&#x2122;s genius. 14

water, biophilic design, + the built environment With two thirds of the earth’s surface covered by water and the human body consisting of 75 percent of it, it is evidently clear that water is one of the prime elements responsible for life on earth. Water has been used since antiquity as a symbol by which to express devotion and purity. Some cultures, like the ancient Greeks, went as far as to worship gods who were thought to live in and command the waters. Whole cities have been built by considering the location and availability of pure drinking water. The place of gathering was around the wells, which is perhaps the following trend in building fountains in the middle of piazzas.

The sound and appearance of water have long been desirable, promoting calm and serenity. In a 2013 article, environmental psychologist Mathew White studied census data in England to gauge how living near the coast affects us. According to White, being closer to the sea “significantly improves people’s well-being.” Research also shows that water can give people a visual preference for and positive emotional responses to environments containing water elements; reduced stress, increased feelings of tranquility, and lower heart rate and blood pressure from exposure to water features; improved concentration and memory restoration induced by complex, naturally fluctuating visual stimuli;

and enhanced perception and psychological and physiological responsiveness when multiple senses are stimulated simultaneously. Water has great moralistic, scientific, symbolic, and utilitarian significance, thus, incorpoarting it into design seems natural. The following examples are ways in which one can incorporate water into the design of an interior or exterior space: • Roof gardens and green roofs • Interior pools and basins • Interior ecosystems • Exterior water gardens • Waterfalls and cascades of water • Blurring inside and out • Fountains/accessible fountains • Water as art • Kinetic sculpture • Connection with existing features • Hydromimicry (emulating water’s natural patterns, rhythms, and behaviors in design 17

emulating nature 3.85 billion years 30 million species 1 earth

The “scoping” phase refers to defining the context, identifying the problem and intended functions, and integrating life’s principles. The “creating” phase consists of brainstorming bioinspired ideas, emulating design principles, considering multiple options, and prototyping.

When looking to emulate nature, we can take three approaches: 1. Mimic form. 2. Mimic process. 3. Mimic system. In order to effectively interpret our observations and prepare a design based on natural inspirations, we must take a four-part approach: 1. Scoping 2. Creating 3. Evaluating 4. Discovering 18

The “evaluating” phase is intended to measure and determine if goals and metrics are being met. The “discovering” phase requires insight into how nature might solve a problem and abstracting biological strategies.

Elements of Biomimicry • Ethos • Emulate • (Re)connect

Emulate • Nature as a model, mentor, and measure • Solve problems through bioinspiration • Minimize negative impact

Ethos • Ethics, intentions, and underlying philosophy • Respect for, responsibility to, and gratitude for our fellow species and our home; being aware

(Re)connect • Discover life’s genius, patterns and deep principles • We “are” nature • Discover connection/relationship to nature

chapter four This chapter discusses how neuroscience, biology, and design relate to one another. It looks at the “abstract human,” “biological human,” and “transcendent human,” and how we can create transcendent designs that resonate with humans on a psychological level.

intersections of neuroscience, biology, + design

How does design affect us? Human nature directly affects architecture and design. We define three conceptions of human beings: mechanical, biological, and transcendental.

The abstract human being lives in an industrialized, technological world. They are an ideal inhabitant of a place designed under strict formal criteria and understand basic notions of form and space. In contrast, the biological human being requires a particular type of sensory feedback from the environment, a type of feedback that is becoming harder to find in contemporary cities. They prefer to connect with nature and engage with their environment in a natural way. 22

â&#x20AC;&#x153;Our eye/brain system has evolved to perceive fine detail, contrast, symmetries, color, and connections. Symmetry, visual connections, ornament, and fine detail are necessary on buildings - not for any stylistic reason, but because our perception is built to engage with those features. The physiological basis for sensory experience is the ultimate source of our being, which thus relies strongly on certain geometric elements to which we connect. Creating an environment that deliberately eschews these elements (visual elements that are found in nature and in all traditional architectures) has negative

consequences for our physiology, and thus or our mental health and sense of well-beingâ&#x20AC;? (Kellert). Finally, the transcendent human being has a more profound, spiritiual engagement with its world, an engagement that sets it apart from other animals. â&#x20AC;&#x153;There is a neurological and physiological necessity to engage the environment. Architects today can accompany this by recognizing the operations that connect humans with their environment, and by distinguishing among distinct levels of being human. Biophilic design reorients architecture toward a world governed by coherent information; it also leads people to think on many levels of complexity (which is the way nature works). Reinforcing this tendency, architects can now adopt a higher standard: one that asserts that buildings are by their very nature humanâ&#x20AC;? (Kellert).

Biophilic design reorients architecture toward a world governed by coherent information.

14 steps to humane architecture

chapter five This chapter takes a look at biophilic design in healthcare, evidence-based design, and, at a larger scale overall, looks at how biophilic design can improve the health and well-being of individuals.

biophilia + health In recent decades, a lot of research has been conducted on biophilic design and how it relates to the health of human beings. There have been numerous findings that support a positive correlation between the two, and how incorporating elements of nature in healthcare design can contribute to faster recovery times and an overall better patient-hospital experience. In 1984, Roger S. Urlich, Professor of Architecture at the Center for Healthcare Building Research at Chalmers University of Technology in Sweden, “released a study that looked at patients recovering from gallbladder surgery. Half of them had been assigned to a room with a view of nature, and the other half looked out at a brick wall. It found patients whose windows faced a natural view recovered faster and needed less painkillers. ‘That’s when the notion of evidence-based design really started to take hold,’ says Ellen Taylor, 28

Taylor, director of research at The Centre for Health Design, a Californiabased organization that promotes research-driven health-care design. ‘These are things that maybe we intuitively have known before … but this was the first study that generated that notion that you can document some of these outcomes.’” Since then, Urlich has conducted more than 50 rigorous quantitative studies that led to breakthroughs in evidence-based design in the realm of healthcare. He has studied how having access to nature, gardens, art, and daylighting can lessen pain, stress, and healthcare costs by creating a faster recovery and an overall shorter stay. As far as health outcomes were concerned, Urlich measured most obvious observable signs (i.e. blood

pressure, heart rate, patient morale), patient satisfaction, saftey and economic impacts, and stress levels (of patients, families, visitors, and employees) as they relate to these connections with nature. “Now more than 1,200 studies have been done on everything from sound muffling to sink design. They’ve formed a framework for thinking about evidence-based design, and some hospital design firms have responded by hiring directors of research and tracking metrics.

‘Hospitals are just designed differently now than they were 20 years ago,’ says Taylor. ‘It’s pretty much expected at this point that your design team is bringing that level of knowledge.’” This research has led to contributions in clinical epidemiology - the study of determinants of disease in human populations (example: smoking causes cancer) - and restorative design, as well as contributed to building the evidence base relating to the health benefits of nature. 29

chapter six This chapter describes what restorative design is and how one can implement it into an interior or exterior environment. It discusses typical qualities of restorative design and highlights research related to the topic, showing how design can help people relax and reduce stress.

restorative design Analyzing the inside/outside relationship involves observing how interior spaces connect with nature. Commonly “taken-for-granted” features in an interior are windows and doors. OFten overlooked, they greatly affect how individuals percieve a space, and can offer people the following connections to the outdoors and positive outcomes: • Views • Daylight/sunlight/circadian rhythms • Reduces eye strain • Lower heart rate • Fresh air/ventilation • Passive heating and cooling (siting of building, natural daylighting, etc.) • Access to outdoors • Access to activity

Restorative Design • Three perspectives • Stress perspective – we all experience stress and things in the environment can cause stress; some people are more affected by it than others (examples: unwanted noise, inability to control temperature/ glare, etc.)

• Coping perspective – some people are more able to adapt than others • Restoration perspective – what can we do to restore people back to feeling good when they are feeling stressed and are forced to cope

Theory of Restorative Environments • Protective (walls, roofs, etc.) • Instorative (heat, water, access) • Restorative – goes beyond basic needs to the level of restorative (spiritually, mentally, and physically restored) Maslow’s Hierarchy of Needs • Physiological (most basic) – breathing, food, water, sex, sleep, homeostasis, excretion • Safety – security of body/ employment/resources/morality/ family/health • Love/Belonging – friendship, family, sexual intimacy • Esteem – self-esteem, confidence, achievement, respect of others, respect by others • Self-actualization – morality, creativity, spontaneity, problem solving, lack of prejudice, etc.

Physiological Theories of Restoration • Attention restoration theory (Kaplan and Kaplan) • Example: reading something multiple times but not remembering anything about it • Restoring attention by getting away to restore fascination • Remove yourself from situation and restore your attention

restorative design • Psychoevolutionary theory (Ulrich and others) • Stress reduction for beneficial change (shows up in body measures – heart rate, etc.)

Elements of Restorative Design • Include benign elements • Protect from danger • Have multiple restorative effects happening at once (sounds, temperature, lighting) – creating a low impact environment • The more conflicting things that are going on at one time, the more stressed people will be • Create more benefits for people

Social Ecology of Stress • People continually cycle between stress and restoration • These cycles are regulated by routines • People forego their routines when they’re stressed out (sleeping less, no exercise, eating poorly) • Economic and technological concerns influence activity level • Varies by person (gender, economic status, etc.)

• Need connections between settings • Need environments that will engage you and environments that will distract you

engaging but restorative spaces

Implications of Activity Cycles • Need multiple settings • Sometimes you want stimulation but other times you want quiet 35

chapter seven This chapter shows why we should be looking to the next generation, to children, for ideas and inspiration about the direction of biophilic design. Combating current trends of increasing childhood obesity rates, it is ever important that we find new and exciting ways to encourage children to interact with the outdoors through design.

children + nature Childhood obesity has more than doubled in children and quadrupled in adolescents in the past 30 years. Growing up in the age of technology, which often breeds a culture of laziness, the need for outdoor engagement amongst children and adolescents has become increasingly important. With all signs pointing to a more sedentary society, it is crucial that we get children engaged with the outdoors - and we can do so through design. “Today’s children and families often have limited opportunities to connect with the natural environment. Richard Louv called this phenomenon, ‘naturedeficit disorder’ in his book, The Last Child in the Woods, and opened the nation’s eyes to the developmental effects that nature has on our children.

Louv documented how modern family life has changed dramatically in the last two decades. Children spend more time viewing television and playing video games on computers than they do being physically active outside. In the past decade, the benefits of connecting to nature have been well documented in numerous scientific research studies and publications. Collectively, this body of research shows that children’s social, psychological, academic and physical health is positively impacted when they have daily contact with nature. Postive impacts include the following:” • Enhances cognitive abilities • Supports creativity and problem solving • Increases physical activity • Reduces stress • Improves academic performance • Improves social relations • Boosts immune system

Nature buffers the impact of life's stresses on children and helps them deal with adversity. The greater the amount of nature exposure, the greater the benefits (Wells & Evans 2003). With more children living in cities than ever before, it’s important for designers, landscapers, architects, and urban planners to think of innovative ways to bring nature to the concrete jungle, and can do this by creating in-between spaces or shared spaces that take biophilic design beyond the building envelope. Examples include: • Parks • Public fountains • Green spaces • Skyparks • Public gardens

Millenium Park, Chicago

Central Park, New York City

The High Line, New York City

Reimagining the city park for children

a closer look... In a Skype session with Bill Browning, the author of â&#x20AC;&#x153;14 Patterns of Biophilic Design,â&#x20AC;? Browning gave a more in-depth understanding of biophilic design and biophilia, providing numerous real-world examples and lots of insight into the field.

bill browning on biophilia + biophilic design Bill Browning first took an interest in biophilic design after examining dozens of case studies on green buildings which found a positive correlation to an increase in productivity and a decrease in absenteeism. He began to wonder what might be the deeper, more important meaning behind these numbers, and how we might be able to impact peopleâ&#x20AC;&#x2122;s health and wellbeing through bio-inspired design. And thus began his research on and commitment to the field of biophilic design.

So, what is it that we typically think of when we think of biophilic design? Usually plants and water. But biophilic design is so much more than that. 42

Biophilia is something that we already know intuitively.

Biophilia is intuitive in its nature. It literally translates to â&#x20AC;&#x153;love of nature,â&#x20AC;? which, historically, humans tend to believe and have a deep-seeded relationship with the land, some unspoken connection to and desire for nature. The science (biophilia/ biophilic design) attempts to give us a language for why some environments feel better than others. Biophilic design is, in its purest form, design that connects people to nature.

Browning explains that the first true studies on biophilic design were in the field of healthcare and, more specifically, the “healing gardens” movement. Studies found that just having a view of nature led to decreased blood pressures and faster recovery times in patients. Later studies looked into the benefits of displaying pictures of nature versus abstract art, and the findings were quite intense. The nature pictures aided in decreasing patient blood pressures, while images of abstract art tended to increase the individuals’ heart rate so much that they would need to stop the study.

Some researchers speculated whether “simulated nature” (depicted through images) was enough. Most concluded that, while seeing the real views of nature is drastically better, simulation is better than nothing and still has numerous benefits to patients.

Further, the physiological benefits to viewing real nature are greater than the benefits of viewing simulated nature. With even the best flat screen TV technology, no matter where you’re standing in a room, you’re always seeing the same image in contrast with parallax and how your eyes view three-dimensionality and “real nature.”

bill browning on biophilia + biophilic design In Japan, biophilia is known as “forest bathing.” Researchers have found that exposure to nature isn’t just temporary, it stays with you and can continue to have benefits to individuals even after leaving an outdoor environment, reducing cortisol levels and in turn making people calmer and happier. Researchers Barton and Pretty conducted “duration of exposure” studies to find the optimal “dose” of nature and green exercise for improving mental health. This multistudy analysis assessed the best regime of dose(s) of acute exposure to green exercise required to improve self-esteem and mood (indicators of mental health). Dose responses for both intensity and duration showed large benefits from short engagements in green exercise, and then diminishing but still positive returns. Every green environment improved both self-esteem and mood; the presence of water generated 44

greater effects. They found evidence to support the “attention restoration theory,” which affirms that when you’re out in nature, your brain is in a different mode of processing; it gives you a pause and allows you to focus better on your task when you return to an interior environment. When in nature, the prefrontal cortex steps back and lets other parts of the brain take over, releasing opioid receptors that reduce brain processing and enhance detection and association.

Further research has been conducted on the perception of sounds in nature. Researchers looked at the noise produced by waves in the ocean (pleasant) compared to the noise created by traffic on a highway (unpleasant). They averaged and synthesized the noises and then played the new noise while showing people waves on the beach. When researchers showed this to people, it was processed in the part of the brain that deals with nature and the noise was perceived as positive. When they played the noise and showed a picture of a busy highway, information was processed by the portion of the brain that deals with man-made things, and the noise was in turn perceived as neutral or negative.

Browning also discusses fractals in nature, and how they are often very pleasing to humans, but there really is no explanation why. Fractal patterns encourage perceptual rather than cognitive thinking. If the fractals are moving (flames in a fire/waves rolling in), we become mesmerized and love the movement and patterns.

bill browning on biophilia + biophilic design Biophilic design isn’t just about what it looks like, smells like, feels like, sounds like; it’s about combining experiences of senses that elicit a stronger, more positive, more engaging response from users. On “14 Patterns” • Water is very important to humans. • Close enough to see, hear, touch • Perceived as clean • Has some movement • Our mind can mask out other sounds/ignore them to pick up on the sound of moving water.

• A variety of light conditions in a space make it a much better space for humans; our hormone balance shifts with variations of light color • Daylight is yellow in the morning, blueish at midday and red/pink at night. 46

• Connection with Natural Systems: evokes a relationship with the greater whole; makes one aware of seasonality and the cycles of life • Witnessing the changes in a system over time; people become more involved/engaged with the ecosystem and perception is shifted.

• Analogues: natural patterns, materials, forms • Use of natural materials in a space can lead to stress reduction. • Appreciation in the origins of materials, where they come from, what makes them unique (wood, stone)

• Why? Semantic content, visual information and variance including fractals • Complexity is naturally attractive to us (again, 3rd level fractals) • Experience: Prospect, refuge, mystery, risk/peril • Prospect: uninterrupted view • Refuge: protection, something against your back (a table vs. booth seating – you have safety/refuge and a view of the whole restaurant/prospect; it’s ideal to combine both) • FLW Taliesin West – full of prospect and refuge areas

• Mystery: compels one to further explore a space/turn a corner • Visual and with sound or smell • Risk/Peril: implied danger, identifiable safety • The most effective projects use one or two patterns of biophilic design (some aid in stress reduction, mood, cognitive performance, etcetera).

• Savanah Hypothesis – view preference, extended views, calm grazing animals, signs of human habitation, mimic savanahs all over the place (golf course, etc.) • FLW Johnson & Johnson Building 47

bill browning on biophilia + biophilic design case studies + examples

CLIF Bar Headquarters Emeryville, CA

Kickstarter Headquarters Brooklyn, NY 48

ParkRoyal Hotel Singapore

One Bryant Park NYC 49

chapter eight This chapter discusses how biologists and scientists might approach design issues. They are constantly looking to nature for answers and inspiration. While biology and design are two very different domains, each can definitely learn a thing or two from the other.

biologists at the design table In a typical day on planet Earth… • We will lose 116 square miles of rain forest (about an acre per second) • We will lose another 72 square miles to encroaching deserts • We will lose 40-100 species (and no one knows if the number is 40 or 100…) • Human population will increase by 250,000 • We will add 2,700 tons of chlorofluorocarbons to the atmosphere and 15 million tons of carbon 52

David Orr, Director of Environmental Studies at Oberlin College, has long concerned himself with how to decrease architecture’s footprint on the world through sustainable and environmentally-friendly initiatives. In the practice of architecture and in the context of society, Orr believes there are some environmental principles that every educated person should understand, including: • Carrying capacity • Maximum population that an environment can sustain • We are approaching or have gone over carrying capacity of our world

• Thermodynamics • Energy can change form but it can’t ever disappear • Three main laws • Nothing can actually be destroyed, but can change states • Basic laws of ecology • 4 basic laws: • Everything is connected to everything else • Everything goes somewhere/ has a place • Nature knows best: it will win, even though we think we win. • Nothing comes from nothing; there is a cost. “There’s no such thing as a free lunch.” • Energetics • Study of energy • Least-cost, end-use analysis • What are you trying to do and what is the best and least expensive way to do it 9may not be where demand is/capitalism) • How to live well in a place

• Appropriate scale • Limits of technology • Sustainable agriculture and forestry • Big business farming is not sustainable/damages environment • Steady-state economics • Stable population + stable economy • Environmental ethics • A focus in philosophy relating to man’s relationship to the environment 53

biologists at the design table In this context, there are essentially two domains of knowledge: science + design.

Science

Design

Objects

Form

Attributes

Process

Relationships

Systems

Biologists at the design table would ask, “How would nature solve this?” and look for inspiration from: • Organisms • Systems • Patterns • Principles • Strategies 54

Form • Whalepower (Dr. Frank Fish) • Flippers of humpback whale • Tubercle technology • Advancement in understanding of fluid dynamics • Overcomes biggest hurdles in wind power – noise, turbulent air

Life on earth is interconnected and interdependent. Process • Calera • Conventional cement heated to 2640 Fahrenheit to form “clinker” then ground to a powder – releases CO2 (bad for environment) • Calera – new method based on biomimetic process mimics the creation of limestone deposits

System • Symbiosis (coexistence of diverse organisms which benefit from one another) • Vermiculture – composting with worms; worms get food, we get good soil • Kalunborg, Denmark • Self-organizes symbiotic relationship between companies and services • The companies exploit each other’s waste products for their own processes.

chapter nine This chapter aims to wrap up the discussion of biophilic design and bioinspiration as a driving force in design. It discusses the work of one firm, HOK, who is making great strides in becoming a more sustainable and environmentally innovative company, incorporating bioinspiration in their designs and educating their designers on the importance of biophilic design.

nature as a model + mentor When referring to biophilic design and biomimicry, it is important to keep several things in mind. Think of these as a toolbox with which you can bring bioinspiration into any design. • Consider nature a primary source of research and information. • Use the following research tools. • Observation, documentation, [behavioral] mapping, time-lapse study, trace, grounded theory Use Nature as a Model + Mentor • Millions of years of research and development • Cross domains to design • Retest Innovations • Using the design of a gecko’s foot to come up with an adhesive (in terms of structure, rather than through chemicals – not a glue)

• Self-cleaning building materials • Building in Zimbabwe inspired by cooling system in termite mounds 58

(they maintain a constant temperature of about 65-70 degrees and a constant humidity) – using Venturi effect/no mechanical cooling

• Bullet trains in Japan – redesigned the front based on kingfisher bird’s beak to make it more quiet • Boxfish inspiring Mercedes aerodynamic/environmentallyfriendly concept car (mimicking form) • Interface carpet – how can you hide things in a flooring material? Looked at how forest floor creates that level of camouflage

Biomimicry for Green Building: Harnessing the Genius of Nature to Help Conserve Water in the Design of the San Francisco Museum at the Mint HOK is a global design, architecture, engineering and planning firm. HOKâ&#x20AC;&#x2122;s mission is to deliver exceptional design ideas and solutions for our clients through the creative blending of human need, environmental stewardship, value creation, science and art. Their design solutions result from a collaborative process that encourages multidisciplinary professional teams to research alternatives, share knowledge and imagine new ways to solve the challenges of the built environment. When the city was founded in the 19th century, the San Francisco Bayâ&#x20AC;&#x2122;s edge and marshland area were just a few hundred feet from where the historic Old Mint building sits today. HOK suggested a design idea that incorporates lessons from the local biome while creating new ways to collect and store water. Their overarching goal was to create the most environmentally-innovative/friendly national landmark in the U.S. and create a carbon-neutral net-zero building. HOK considered the building to be the most important artifact in the museum and chose to organize everything around the central public spaces, as well as use the roof to tell the pedagogical story of the buildingâ&#x20AC;&#x2122;s origin. They used passive and active strategies, such as daylighting, water storage, heat transfer, and more, to reduce the ecological impact of the building. HOK even hired Jeanine Benyos to come in and teach all of their employees about how to incorporate biomimicry into the design. 59

chapter ten The following design was created for the Durkan D*SCOVER Carpet Design Competition. Our goal was to design a carpet for a ballroom and common meeting area/hallway for use in the hospitality industry. Durkan is the leading US manufacturer of custom designed carpet to the hospitality industry.

project 1: durkan carpet design competition

These carpet designs drew inspiration from the geometries and nature of trees, as they are some of my favorite subjects to photograph. The hallway pattern is designed to mimic the branching habit of trees to create a sense of meandering. In the ballroom, the direct inspiration is the rings at the core of a tree. Metaphorically speaking, the hallway acts like the branches of a tree, leading to and away from the core of the “tree,” which in this case is the ballroom, the heart of the hotel. I designed the patterns with a lot of movement and used a cooler color scheme with darker hues to calm visitors, make them feel like they’re a part of nature, and to enhance the longevity and prevent noticeable staining of the carpets. If I were to go back and redo this exercise, I would’ve designed a carpet based on topographical elevation maps that could be customized to the site in which it is used in. I also think I would’ve designed something with a smaller pattern, as opposed to the large-scale graphic of the tree ring print.

chapter eleven The Biomimicry Global Design Challenge is an annual team competition that focuses on addressing critical sustainability issues with nature-inspired solutions. The following product, The Produce Pod, was designed to address the idea of sustainable and accessible packaging, a problem in the food system, while using bio-inspiration at the forefront of the design.

project 2: biomimicry global design challenge Inside the Box: Making Food Packaging More Accessible + Sustainable

Meet Our Team

Currently, there is a brewing debate in the world of food packaging, regarding pre-packaged and prepeeled fruits and vegetables, and more specifically, peeled oranges. Sparked by a tweet posted earlier this year that reads, “If only nature could find a way to cover these oranges so we didn’t need to waste so much plastic on them,” people seemed to immediately side with one end of the spectrum or the other. Some, such as environmentalists and opposers of laziness, rejoiced at that fact the so much plastic would be “saved” as a result of this realization. Whole Foods, where this picture was originally taken, has supposedly agreed to remove the pre-peeled oranges from their stores. However, what this “solution” fails to ignore, and what the other end of the spectrum is advocating for, “completely ignores how preprepared food impacts people with disabilities. The most common complaints about the sale of these oranges is either the wastefulness

of the additional packaging...or that anyone who buys this must be incomprehensibly lazy.” One blogger that reacted to this debate stated that, “as a person with limited hand dexterity, I look at this and see an easier way to eat healthy food. I actively avoid eating oranges, not because I dislike them… but because I have so much difficulty peeling them” (Sauder).

project 2: biomimicry global design challenge

The Produce Pod is designed to be a sustainable and accessible solution to the ongoing debate regarding the packaging and pre-preparation of produce and, more specifically, oranges. The target market is people with limited dexterity and accessibility needs, as well as those who may be looking for an â&#x20AC;&#x153;on-the-goâ&#x20AC;? product. With several accessibility considerations in mind, including a compact and organic form, side grips that fit the contours of the hand, and a flexible hinge, the Produce Pod maximizes ease-of-use for all users. The product, as a whole, draws inspiration from several natural forms, systems, and processes. Its shape mimics the structure of the fruit it holds (i.e. oranges) and is small enough in size to be easily carried or thrown into a purse or bag without having to worry if the fruit will be damaged. We intend to use biodegradable, bio-based materials in the package structure to optimize the eco-friendliness and environmental awareness of the product, and to reduce the overall impact of pre-packaged produce on the environment.

Accessibility Considerations Based on ergonomics research, we made certain form decisions to maximize ease of use of our packaging. We implemented concave grooves to allow for a more secure grip around the circumference of our package. The grooves are symmetrical to allow for the package to be held easily by either hand, and by any combination of finger positions. A large tab with a small groove on the underside was chosen as the opening mechanism because it can easily be grasped using any method of hand positioning to open the package. Alternatively, the tab can be â&#x20AC;&#x153;flickedâ&#x20AC;? open from the underside using the groove. These considerations were integral to our design process because they ensured that all users regardless of ability or dexterity can find a way to easily use our product.

project 2: biomimicry global design challenge Inspiration + Organisms For Packaging Materials: Orange Oil Bulrush Sugar Cane Acacia (specifically Acacia gum)

For the System: Anatomy of fruit (specifically oranges, peaches, etc.) Natural moisture-loss prevention Cockroach (waxy coating) Spikemoss (sugar as moisture barrier)

For the Form: Attachment of bat wings (specifically the Grey Bat, Indiana Bat, and Corynorhinus Bat, all endangered species in Virginia) Clamshell hinges

• Nature recycles all materials. • Use bio-based, natural, biodegradable materials. • Nature uses chemistry and materials that are safe for living beings. • Create a life-friendly product. • Nature uses shape to determine functionality. • Our product has three functional goals: 1) protection, 2) to ease, 3) to withstand outside stresses. The form follows the function of the product to ensure there is no waste.

The final design was based on the anatomy of fruit, the three layers that nature has designed to protect the object in question. Immediately surrounding the seed in the core is the endocarp. This layer may be hard and stony or more like paper. The middle section is called the mesocarp and is the fleshy tissue. To finish it off is the exocarp, the skin or rind of a fruit. Collectively, the three capri regions are known as the pericarp. Based on the pericarp found in fruit, the packaging was designed to be biologically friendly and universally accessible. For the endocarp layer, beeswax paper was considered with a final decision on that paper soaked in orange oil for a clearer, thinner feel. Coating the paper surrounding the fruit with the oil will also act as a moisture resistant barrier, keeping the peeled fruit fresh. The mesocarp would be composed of acacia gum as padding for the fruit enclosed, and finally, for the exocarp, Tetra Pak would be utilized as the hard outer protection method. All materials would be made of natural materials and be completely biodegradable. 71

chapter twelve: sketches These weekly sketching exercises aim to encourage careful observation of oneâ&#x20AC;&#x2122;s surroundings, attention to detail, exploration and discovery, and a greater appreciation for nature, while also developing the authorâ&#x20AC;&#x2122;s sketching abilities.

sketches

sketches: branch study

sketches: birds*

*Drawn from photograph.

watercolor studies

photographs

works cited

Chapter One: •http://media.interiordesign.net.s3.amazonaws.com/photos/60/76311-Green%20office_580x500.jpg •https://en.wikipedia.org/wiki/E._O._Wilson •https://www.reminetwork.com/wp-content/uploads/wall.jpg •https://cdn0.vox-cdn.com/uploads/chorus_image/image/48903587/fallingwater.0.0.jpg •http://www.jetsongreen.com/images/old/6a00d8341c67ce53ef0120a856009b970b-800wi.jpg Chapter Two: •http://b.fastcompany.net/multisite_files/codesign/imagecache/1280/poster/2012/10/1671053-poster-1280-umass-geckoskin-tape-picture-451.jpg •http://www.azquotes.com/picture-quotes/quote-the-more-our-world-functions-like-the-natural-world-the-more-likely-we-are-toendure-janine-benyus-82-83-86.jpg •http://www.earthisland.org/eijournal/spring2011/images/ConversationJanine.jpg •http://www.nanotechetc.com/wp-content/uploads/2014/02/geckofeet.jpg •http://biomimicry.net/wp-content/uploads/2012/02/climate_change_large.jpg •https://www.nwf.org/~/media/Content/National%20Wildlife%20Magazine%20Layouts/2010/biomimicry_02.ashx?w=534&h=350&as=1 •http://media.popularmechanics.com/images/wind-turbine-whale-1008.jpg •http://pop.h-cdn.co/assets/cm/15/05/54ca73541c759_-_bullet-train-bird-1008.jpg •http://biomimicry.net/wp-content/uploads/2012/02/toxics_large.jpg •https://s-media-cache-ak0.pinimg.com/736x/cd/4c/c6/cd4cc6741538347453421d24a23d0dfd.jpg Chapter Three: •http://www.terrapinbrightgreen.com/reports/14-patterns/img/fourteen-1000-05_tannersprings_FredJala.jpg •http://www.terrapinbrightgreen.com/reports/the-economics-of-biophilia/img/biophilia-view-1200.jpg •https://engineeringbyjorgen.files.wordpress.com/2015/02/patterns18.jpg •http://blog.designfromthegroundup.com/blog/wp-content/uploads/2011/08/forecourt3.jpg •http://img.imbrandon.com/upload/7/3d/73d390443cbb341f9dc216154b95c5ae.jpg •http://img.imbrandon.com/upload/7/87/78740308660f0a9f33f2f2f6630ff67a.jpg •http://okeanosdesignblog.com/wp-content/uploads/2014/05/water-out_in-e1285879297426.jpg •https://s-media-cache-ak0.pinimg.com/736x/13/6a/23/136a23ae1c8d7157f65947c5d6b370b5.jpg •https://www.bluewin.ch/de/leben/reisen/redaktion/2015/15-04/andreas-gerth-naturerbe-der-schweiz.html •http://bioinspired.sinet.ca/files/bioinspired/users/nhoeller/2011march/BiomimicryApproachVennv1.jpg •http://america.pink/images/1/4/4/0/9/5/1/en/1-environmental-ethics.jpg •https://s-media-cache-ak0.pinimg.com/736x/c3/3f/82/c33f82ca84767f51184950d198535e52.jpg •http://www.zengardner.com/wp-content/uploads/fggfxfgn-700x466.jpg Chapter Four: •https://web8.ovpr.uga.edu/bhsi/wp-content/uploads/sites/7/2015/07/neuroscience-slide.jpg •https://books.google.com/books?id=FyNer_nQrW4C&pg=PT75&lpg=PT75&dq=conception+of+human+beings+mechanical+biological+transcendental&source=bl&ots=yZg1elLTJT&sig=gZuer9BVkT8Qd4M5XPNVI5rPMJo&hl=en&sa=X&ved=0ahUKEwj90Y7yr8nMAhXEeSYKHRAzChkQ6AEIHTAA#v=onepage&q=conception%20of%20human%20beings%20mechanical%20biolog-

works cited •http://jleonard-japan.com/hp/wp-content/uploads/2013/12/Transcend.jpg •http://d2mdn1s78c9h86.cloudfront.net/wp-content/uploads/2015/04/c888ba9f9fb7e4c7601591daf34c6ff2.jpg •https://biblicalchiasmus.files.wordpress.com/2012/01/london-natural-history-museum-fabriciopretti.jpg •http://mediad.publicbroadcasting.net/p/kalw/files/201601/Nature-Brain.jpg •http://www.architectureanddesign.com.au/getmedia/9e4dabe2-707c-4b32-900c-d5b8fcc5a177/140815_NAB4.aspx •http://www.ambius.com/blog/wp-content/uploads/2012/11/Biophilic-Design.jpg Chapter Five: •https://d3pxppq3195xue.cloudfront.net/media/images/12/12/19/2011.07_966x668.jpg •http://healthydebate.ca/2014/07/topic/evidence-based-hospital-design Chapter Six: •http://www.wdgarch.com/perspectives/wp-content/uploads/2015/03/Biophilic-Design-GSA-building2.jpg •http://www.mochacasa.com/blog/wp-content/uploads/2016/03/living-room-biophilic-design.jpg •http://www.psychologicalscience.org/redesign/wp-content/uploads/2011/02/bridge-orig.jpg •http://naturesacred.org/wp-content/uploads/2015/02/brain-park.jpg •http://www.feelguide.com/wp-content/uploads/2011/06/Plutchik.jpg •http://www.contractdesign.com/static/content_images/IA14_Sust_1.jpg •http://www.instinctfurniture.com.au/wp-content/uploads/2014/05/woods-bagot-muse-macquarie-university-designboom-01-465x299.jpg •http://media.mnn.com/assets/images/2013/03/haydenplace_1.jpg Chapter Seven: •http://www.archicentral.com/wp-content/images/ncm-courtyard-4-09.jpg •http://cache4.asset-cache.net/gc/109724442-children-looking-at-nature-idyllic-summer-gettyimages.jpg?v=1&c=IWSAsset&k=2&d=SMy5Tq3YUXVNlw3DFtqjFqFiAUwdV3xJGV%2F5zuB95AU6ew0Owl7Q%2FlIXklGaZr62 •https://naturalearning.org/sites/default/files/Benefits%20of%20Connecting%20Children%20with%20Nature_InfoSheet.pdf •https://www.whitehutchinson.com/children/articles/benefits.shtml •http://johnpartilla.net/wp-content/uploads/johnpartilla-net/sites/858/The-Highline-630x4201.jpg •http://hixon.yale.edu/sites/default/files/styles/adaptive/public/images/conference/chicago-millennium-park.jpg?itok=qNqU48_j

Bill Browning •https://s-media-cache-ak0.pinimg.com/736x/c6/8e/9a/c68e9a427180264442aa2209adb097f3.jpg •https://idesignquest.files.wordpress.com/2013/03/biophilia5.jpg •http://www.terrapinbrightgreen.com/wp-content/uploads/2015/11/Case-Studies_header-740x414.jpg •https://s-media-cache-ak0.pinimg.com/736x/d5/81/9a/d5819a402846483b4016bf6a4efafcb4.jpg •http://www.corbettinc.com/blog/wp-content/uploads/2015/04/EinsteinMedicalCenter_lobby_Lyra_ppl3-2.jpg •http://cdn2.omidoo.com/sites/default/files/imagecache/full_width/images/bydate/20130201/shutterstock75615955.jpg •http://www.terrapinbrightgreen.com/reports/14-patterns/img/fourteen-1000-05_tannersprings_FredJala.jpg

•http://cdn.zmescience.com/wp-content/uploads/2013/09/traffic.jpg •http://cdn.pcwallart.com/images/ocean-waves-beach-wallpaper-1.jpg •http://thumbs.dreamstime.com/t/fire-flames-black-background-texture-45874484.jpg •http://media.mnn.com/assets/images/2013/04/aloe-spiral.jpg •http://media.mnn.com/assets/images/2013/04/nautilus-feat.jpg.560x0_q80_crop-smart.jpg •http://st.hzcdn.com/simgs/987184380f490d3e_4-5659/contemporary-exterior.jpg •http://i2.cdn.turner.com/cnnnext/dam/assets/141029091832-clif-bar-and-company-hq-horizontal-large-gallery.jpg •http://static.seattletimes.com/wp-content/uploads/2015/03/5bfbab90-b39b-11e4-abb2-6f3fcdea777c-1020x601. jpg •http://soyouknowbetter.com/wp-content/uploads/2013/10/3-Clif-Bar-Company-in-Emeryville.jpg •http://static1.squarespace.com/static/54295d66e4b02e339256ffa0/t/542d57a1e4b003cfbb63a7cf/1412273474671/?format=1000w •https://www.parkroyalhotels.com/content/dam/pr/PR%20Pickering/homepage/Photo-gallery/Photo-Gallery_Skygardens_620X340.png/_jcr_content/renditions/original •http://images.adsttc.com/media/images/55e6/da99/4d8d/5dd1/7300/10ee/newsletter/one-bryant-park. jpg?1441192596 Chapter Eight: •http://www.canmaps.com/topomaps/nts50/toporama/orthoimages/063e01.jpg •https://sendthewholebattalion.files.wordpress.com/2015/12/carrying-capacity.jpg?w=479 •https://woodwardmark.files.wordpress.com/2012/03/stock-illustration-16243356-ecology-care.jpg •http://images.nationalgeographic.com/wpf/media-live/photos/000/093/cache/giant-lobelia-plant_9372_600x450. jpg •http://cornforthimages.com/wp-content/uploads/2012/11/Humpback-Whale-Pectoral-Fin-10.jpg Chapter Nine: •https://iasefmdrian.files.wordpress.com/2013/08/15.jpg •http://www.hok.com/about/ •https://geckskin.umass.edu/sites/geckskin/files/gecko-foot-fabric.jpg •http://img.archiexpo.com/images_ae/photo-g/4250-7454689.jpg Chapter 10: •http://gibbongroup.com.au/wp-content/uploads/2015/07/Durkan_01-600x386.jpg Chapter 11: •http://quietmike.org/wp-content/uploads/2015/04/agriculture.jpg Chapter 12: •http://images.medicaldaily.com/sites/medicaldaily.com/files/2015/07/05/nature.jpg

meet the author Shelby Elizabeth Burnett is currently studying Interior Design and minoring in Leadership and Social Change at Virginia Tech. A native of Rappahannock County, Virginia, â&#x20AC;&#x153;homeâ&#x20AC;? to Burnett has always been mountains to climb, rivers and swimming holes to jump in, and rolling hills and farmland for miles. She learned to appreciate all that nature has to offer from a very early age, giving her a unique background to incorporate in her future design career. When she isnâ&#x20AC;&#x2122;t working on a design project, Burnett can be found taking pictures outside, relaxing in a coffee shop, working on a service project (she is an active member of Students Helping Honduras, Virginia Tech Relay for Life, and the SERVE Living-Learning Community), sharing her love for Virginia Tech, or hanging out with friends. In the future, she plans to move to a big city and carry her love for nature into design by incorporating bio-inspired design into her everyday career as an interior designer, as well as find more opportunities for biophilic design to be present in urban environments. 93