Hannah-Lee Turner
Exegesis Masters of Art and Design AUT
2024
Refining through DigestionFruiting hope with mycelium's power to process our textile waste
Abstract
‘Refining through Digestion’ is an exploration in material design that involves
collaborating with organisms capable of converting textile waste into a circular
system. The research investigates how a practice-led design approach utilises
biomimicry, biomaterial, and bio-collaboration to reduce our textile waste resolve
and increase circularity through alternative, biological systems of waste recycling.
This endeavour offers solutions for creating new material hybrids and/or facilitating
the degradation of fibers.
Through experimentation and speculation, I conducted trials cultivating mycelium
under various conditions and observed how textile waste feeds (such as polyester,
cotton and a polyester wool blend) interacted with this process. These observations
aided the refinement of mycelium growing methods. The process yielded a material
with potential applications for artistic, architectural and agricultural practices, as
well as industrial settings. My focus was on artistic design of an installation that can
evoke hope through the resilient, adaptive sensibility of mycelium, as well as a
proposition for a new biomaterial. Collaborating with living organisms opens
avenues for exploring possibilities beyond mere product outputs. It fosters a deeper
consideration of resources and contributes to the development of sustainable
outcomes. By reconnecting and recalibrating our relationship with biological
systems, we pave the way for applying these insights to future materials and
practices.
Contextual Review Art and Design Masters
Auckland University of Technology
ID: 22162132
By Hannah-Lee Turner
2023
TITLE:
Ecological Innovation for Materials from Textile Waste
ABSTRACT:
This research explores the potential in innovating material with systems from nature, looking at organisms to process textile waste.
The environment is experiencing negative impacts from our textile waste.
This research looks to nature to resolve and create solutions to this issue.
Utilizing methods of biomimicry and biophilia to understand how nature digests and extrudes refined fibers is a key teacher in the research.
This exploration has the potential to provide solutions to textile waste, with new material outcomes.
ESSAY:
Investigating the potential of textile waste, through implementation of biomimicry and biophilia, intersecting between design frameworks, ancient wisdom, and biology, this essay explores future thinkers for the planet in material design innovation.
With a specific focus in life cycle and resource scarcity, this research explores methodological frameworks of Dr. Janine Benyus, a biologist who coined the term biomimicry in publishing her book in 1997[1], Robin Waller Kimmerer a botanist, ancient wisdom connector and observer[2], and David Sanchez Rauno who speaks to the methods of symbiotically designing within-nature[3].
Existing applications of biomimicry suggest tremendous potential in industrial practice, such as dynamically-mimicked shark skin[4], and the chemical replication of spider silk[5]. This potential is validated by the practice of researchers; Neri Oxman, a senior professor at MIT, who leads creative teams to innovate materials and structures with a goal of equal efficacy as nature[6], and Jane Scott, who studies the ability of natural material changing its structure to respond to the environment[7].
While the textile industry has integrated the most conspicuous exemplars of biomimicry, there remains significant room for it to include symbiotic practices spread over an entire life cycle. The proposed objective is to merge the two and produce materials that are both industry-applicable and bio-efficient.
Janine Benyus established the term biomimicry in 1997 recognizing
historically biomimicry has served as a concept that could lead to negative impacts on the environment such as the airplane inspired by birds biology[8]. In 2006, Benyus founded the Biomimicry Institute which strives to support and embody biological systems to design practices[9]. Acknowledging biomimicry as an indigenous and natural world practiced ideology, centuries prior to the industrial revolution, she emphasizes the adoption of the harmonious ways to work with natural systems best for habitat and human. When applying her method; Nature as Model, Nature as Measure, and Nature as Mentor, regenerative outcomes can be achieved avoiding nuanced innovation such as the plane.
Robin Wall Kimmerer inquisitive observation with nature draws links to biomimicry, identifying systems simultaneously acknowledging a deeper more ancient understanding of the influence from nature and how we can learn from her. Eloquently stating ‘The gifts we are given by this earth are not for us to keep. It is our duty to return the love we have been given, in nurturing reciprocity.[10] Kimmerer’s teachings highlight important considerations and questions which include understanding the resources invested in their creation, examining their life cycle and eventual disposal. In the contemporary world, it is essential to consider ecology in economic frameworks like Donut Economics[11]. By adopting such frameworks, we can achieve regenerative production.
Dr David Sanchez Ruano an ecological design educator, explores design tools and methods for education in a nature-based learning framework.
In Ruano’s Symbiotic Design Practice paper, he develops a methodology to design within-nature, embodying concepts of biophilia, biomimicry and resilience. This design process is influenced by the Double Diamond design model[12], Ruano's framework begins with biophilia-awareness, through to understanding – action under biomimicry and resilience under legacy.[13] With this physiological framework it lays the grounds for critic in the following material outputs.
In the material and textiles industry there are many applying biomimicry to the visual and physical outcomes, in textures or structures of materials.
An early example of this is George De Mestral’s invention Velcro which was inspired by the strong hook of the plant cockle-burs plant.[14] [15] Development of woven fabrics mimic the simple yet complex structure of fibers such as the coconut leaf sheath. Speedo Fastskin[16] swimwear mimicking the texture of shark skin to improve the performance of swimming athletes decreasing friction and therefore increasing speed in the water.[17] These examples utilise elements of the biological systems, however, they are manufactured with environmentally harmful resources such as petroleum, making these materials difficult to decompose.[18]
Increase in organizations for textile recycling are being set up globally since reports identified less than 1% of textiles are being recycled into new garments[19] These operations require machine sorting, and blended fibers make it difficult to repurpose into new material fit for clothing.[20] [21] Examples in other areas to waste-management is the progress with mycelium eating plastic waste[22], these bio-collaborations support the potential in looking to biomimicry for plausible solutions to more resource efficient systems in recovering this waste.
A notable fibre inspired by spider silk is Bolt Threads Microsilk mimicking the protein of the spider silk, this innovation is lab grown.[23][24] Falling into the category of bio-fabrication, a term in the material industry described as; fabrication of materials by living organisms[25] Strengths in this innovation is the biodegradability and live fabrication, in this case, yeast growing the protein, making it energy efficient. [26]
The short fall for the development of these materials are exclusive partnerships inhibiting general market application. This leads to the importance of open-source innovations and concept evoking artworks rather than privatised material companies.
Resource efficacy is a central interest in the design practices of artists and innovators; Jane Scott and Neri Oxman, who explore the application of biomimicry principles to create their designs.
Jane Scott, a material innovator artist, employs a biomimicry methodology to create knitted structures using natural fibres.
By utilising programmable knitting as a medium Scott illustrates the potential in natural systems with organic materials that can be applied into architectural spaces with environmentally responsive textiles. Working in a symbiotic relationship to the fibre high lighting the hydromorphic property like wood; this textile responds to changes in environmental humidity by swelling and shrinking due to the knitted geometry like the cellular structure of wood[27].
Scott's work explores how natural fibers of cotton and linen can expand and retract in knitted patterns the same way trees breath and deal with moisture. The innovation is directly developed with the understanding of natural systems. These explorations could see the possibility of improving human environments, homes and public spaces. These systems require no power, are biodegradable and deal with a resourceful way of moisture management giving possibility to replace air-conditioning machines that require power.
Neri Oxman's grandmother's garden was instrumental in shaping her creations[28]. Her medical studies amalgamated with architectural PhD allowed the vision of utilising technologies and natural systems to dream resource efficient processes of building structures[29].
In developing the Silkworm-Spun Pavilion Oxman stated ‘How can humans collaborate with other species to create new materials and structures without depleting natural resources?[30]
This work collaborates with technologies between human and natural systems creating a physical structure minimizing extractive recourses.
Both Scott and Oxman apply natural systems in a symbiotic approach harnessing the power of nature’s energy, identifying material outcomes that can utilise recourses without relying on energy-intensive extraction.
CONCLUSON:
This essay has delved into the potential of biomimicry and biophila in application to material innovation. Gaining insights into methodologies and philosophies by investigating the works of Janine Benyus, Robin Wall Kimmerer, and David Sanchez Ruano. Identifying the crucial need for circular systems and symbiosis with nature when applying methods of biomimicry.
Ranging from the development of fabrics inspired by natural structures to the replication of fibres of spider silk the textile industry does incorporate functional elements of mimicry, yet often fail to address the broader ecological impacts.
To bridge this gap, Neri Oxman and Jane Scott’s work demonstrates the potential of a symbiotic approach to material innovation. This showcases the utilisation of natural systems and organic materials, resulting in designs that respond to the environment and exhibit resource efficiency.
By embracing biomimicry's full potential and integrating it into the textile industry, we can pave the way for the creation of sustainable and ecologically conscious materials benefiting both humanity and the planet.
Bibliography
Benyus, Janine M. Biomimicry: Innovation Inspired by Nature. Nachdr. New York, NY: Perennial, 2009.
Biomimicry Institute. “Our Mission.” Accessed June 6, 2023. https://biomimicry.org/ourmission/.
“Bolt Threads – About Us.” Accessed November 29, 2022. https://boltthreads.com/about-us/.
Das, Sekhar, Nachimutu Shanmugam, Ajay Kumar, and Seiko Jose. “Review: Potential of Biomimicry in the Field of Textile Technology.” Bioinspired, Biomimetic and Nanobiomaterials 6, no. 4 (December 1, 2017): 224–35. https://doi.org/10.1680/jbibn.16.00048.
Design at the Intersection of Technology and Biology | Neri Oxman | TED Talks, 2015. https://www.youtube.com/watch?v=CVa_IZVzUoc.
“Doughnut | Kate Raworth,” April 28, 2013. https://www.kateraworth.com/doughnut/.
Dr. Amy Congdon, Suzanne Lee, Charlotte Borst, Georgia Parker. “UNDERSTANDING ‘BIO’ MATERIAL INNOVATIONS: A Primer for the Fashion Industry,” n.d.
Ellen MacArthur Foundation. “A New Textiles Economy: Redesigning Fashion’s Future,.” Ellen MacArthur Foundation, 2017. https://ellenmacarthurfoundation.org/publications.
Environmental Center. “Plastic Eating Mushrooms,” November 4, 2021. https://www.colorado.edu/ecenter/2021/11/04/plastic-eating-mushrooms.
“Invention of VELCRO® Brand - Hook and Loop | VELCRO® Brand Invention.” Accessed June 5, 2023. https://www.hookandloop.com/invention-velcro-brand.
Kimmerer, Robin Wall. Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants. Penguin Ecology. London: Penguin Books, 2020.
Mathews, Brett. “World’s First Commercial Poly-Cotton Recycling Facility Opens in Australia.” Apparel Insider (blog), November 10, 2022. https://apparelinsider.com/worlds-first-commercial-poly-cotton-recycling-facility-opens-in-aus/.
Oxman, Neri. “Material-Based Design Computation.” Thesis, Massachusetts Institute of Technology, 2010. https://dspace.mit.edu/handle/1721.1/59192.
responsiveknit. “Jane Scott.” Accessed June 9, 2023. http://responsiveknit.wordpress.com.
Ruano, David Sanchez. “Symbiotic Design Practice: Designing with-in Nature.” University of Dundee, 2016.
Silk Pavilion I. “Silk Pavilion I.” Accessed April 18, 2023. https://oxman.com/projects/silk-pavilion-i.
Slater, Keith. “Environmental Impact of Polyester and Polyamide Textiles.” In Polyesters and Polyamides, 171–99. Elsevier, 2008. https://doi.org/10.1533/9781845694609.1.171.
Speedo New Zealand. “Speedo Fastskin New Zealand | Fastskin Swimwear for Men & Women.” Accessed June 9, 2023. https://speedo.co.nz/fastskin/.
“Textile Products | Recycled And Sustainable Textiles.” Accessed April 19, 2023. https://textile.co.nz/.
Tibbits, Skylar, ed. Active Matter. Cambridge, MA: MIT Press, 2017.
“Tools & Frameworks - Design Council.” Accessed April 3, 2023. https://www.designcouncil.org.uk/our-work/skills-learning/tools-frameworks/.
[1] Janine M. Benyus, Biomimicry: Innovation Inspired by Nature, Nachdr. (New York, NY: Perennial, 2009).
[2] Robin Wall Kimmerer, Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants, Penguin Ecology (London: Penguin Books, 2020).
[3] David Sanchez Ruano, “Symbiotic Design Practice: Designing with-in Nature” (University of Dundee, 2016).
[4] Sekhar Das et al., “Review: Potential of Biomimicry in the Field of Textile Technology,” Bioinspired, Biomimetic and Nanobiomaterials 6, no. 4 (December 1, 2017): 224–35, https://doi.org/10.1680/jbibn.16.00048.
[5] Dr. Amy Congdon, Suzanne Lee, Charlotte Borst, Georgia Parker, “UNDERSTANDING ‘BIO’ MATERIAL INNOVATIONS: A Primer for the Fashion Industry,” n.d.
[6] Neri Oxman, “Material-Based Design Computation” (Thesis, Massachusetts Institute of Technology, 2010), https://dspace.mit.edu/handle/1721.1/59192.
[7] Skylar Tibbits, ed., Active Matter (Cambridge, MA: MIT Press, 2017).
[8] Benyus, Biomimicry.
[9] “Our Mission,” Biomimicry Institute, accessed June 6, 2023, https://biomimicry.org/ourmission/.
[10] Kimmerer, Braiding Sweetgrass.
[11] “Doughnut | Kate Raworth,” April 28, 2013, https://www.kateraworth.com/doughnut/.
[12] “Tools & Frameworks - Design Council,” accessed April 3, 2023, https://www.designcouncil.org.uk/our-work/skills-learning/tools-frameworks/.
[13] Ruano, “Symbiotic Design Practice: Designing with-in Nature.”
[14] Benyus, Biomimicry.
[15] “Invention of VELCRO® Brand - Hook and Loop | VELCRO® Brand Invention,” accessed June 5, 2023, https://www.hookandloop.com/invention-velcro-brand.
[16] “Speedo Fastskin New Zealand | Fastskin Swimwear for Men & Women,” Speedo New Zealand, accessed June 9, 2023, https://speedo.co.nz/fastskin/.
[17] Das et al., “Review.”
[18] Keith Slater, “Environmental Impact of Polyester and Polyamide Textiles,” in Polyesters and Polyamides (Elsevier, 2008), 171–99, https://doi.org/10.1533/9781845694609.1.171.
[19] Ellen MacArthur Foundation, “A New Textiles Economy: Redesigning Fashion’s Future,” (Ellen MacArthur Foundation, 2017), https://ellenmacarthurfoundation.org/publications.
[20] “Textile Products | Recycled And Sustainable Textiles,” accessed April 19, 2023, https://textile.co.nz/.
[21] Brett Mathews, “World’s First Commercial Poly-Cotton Recycling Facility Opens in Australia,” Apparel Insider (blog), November 10, 2022, https://apparelinsider.com/worlds-first-commercial-poly-cotton-recycling-facility-opens-in-aus/.
[22] “Plastic Eating Mushrooms,” Environmental Center, November 4, 2021, https://www.colorado.edu/ecenter/2021/11/04/plastic-eating-mushrooms.
[23] “Bolt Threads – About Us,” accessed November 29, 2022, https://boltthreads.com/about-us/.
[24] Dr. Amy Congdon, Suzanne Lee, Charlotte Borst, Georgia Parker, “UNDERSTANDING ‘BIO’ MATERIAL INNOVATIONS: A Primer for the Fashion Industry.”
[25] Dr. Amy Congdon, Suzanne Lee, Charlotte Borst, Georgia Parker.
[26] “Bolt Threads – About Us.”
[27] “Jane Scott,” Responsiveknit (blog), accessed June 9, 2023, http://responsiveknit.wordpress.com; Tibbits, Active Matter.
[28] Design at the Intersection of Technology and Biology | Neri Oxman | TED Talks, 2015, https://www.youtube.com/watch?v=CVa_IZVzUoc.
[29] Oxman, “Material-Based Design Computation.”
[30] “Silk Pavilion I,” Silk Pavilion I, accessed April 18, 2023, https://oxman.com/projects/silk-pavilion-i.
