From Bioinspiration To Biomimi

Entry
From Bioinspiration to Biomimicry in Architecture:

Opportunities and Challenges
Natasha Chayaamor-Heil 1,2
1 UMR MAP MAACC 3495 CNRS/MC, 23-27 rue des Ardennes, 75019 Paris, France; natasha.heil@map.cnrs.fr;
Tel.: +33-751227591
2 National School of Architecture Paris La Villette, 23-27 rue des Ardennes, 75019 Paris, France
Definition: The term “bioinspiration” defines a creative approach based on the observation of biolog-
ical principles and transfer to design. Biomimicry is the recent approach, which describes a large field
of scientific and technical activities dealing with an interdisciplinary cooperation between biology
and other fields with the goal of solving practical problems addressing innovation or sustainable
development. Architecture has been influenced by many aspects of natural and social sciences,
among these, biology is currently blending into design activities. Bioinspiration has evolved and
shifted architectural practices towards numerous innovative approaches through different bioar-
chitectural movements from the past until the present. However, there is a blur of biomimicry
within bioinspiration in architecture between the direct copy of mere natural forms and the true
understanding of biological principles, which is the pivot of sustainable development. The main
challenge remains in the gap between the profound knowledge of biology, its related scientific fields
and the creative process of architectural design, including cross-disciplinary collaboration between
architects and biologists. This entry presents main bioarchitectural movements and how it leads
to today’s biomimicry. It proposes to define biomimicry methodologies and how this approach
applies to architectural design contexts through the study of existing case studies. The opportunities,
challenges and the future outlook of the field will also be discussed.
Keywords: architecture; biology; bioinspiration; biomimetics; biomimicry; interdisciplinarity; analogical

Citation: Chayaamor-Heil, N. From
design process; sustainability
Bioinspiration to Biomimicry in
Architecture: Opportunities and
Challenges. Encyclopedia 2023, 3,
202–223. https://doi.org/10.3390/
1. Introduction
encyclopedia3010014
Historically, various forms of nature were used as part of architectural decorations, as
Academic Editors: Krzysztof
symbols, representations of religion, spiritual beliefs, political power and aesthetics [1–6].
Kamil Żur, Raffaele Barretta, Ramesh
Hitherto, the period of modern architecture, in the New World countries such as America
Agarwal and Giuseppe Ruta
and New Zealand, there are some buildings made in the form of animals to represent their
Received: 13 September 2022 identity, related to commercial aspects, attractions, or activities in relation to the typology
Revised: 30 January 2023 of the building. Whether to reflect the role of the building, such as a fisheries department
Accepted: 1 February 2023 shaped like a fish [7] or just for roadside attractions zoomorphically shaped like a dog [8].
Published: 10 February 2023 In some Oriental countries, elephants or bamboos are also used as symbolism in ‘Feng Shui’
architecture as domestic decoration for spiritual belief and fertilization [9].
Architects invariably search for new means to explore and develop their ideas, not only
to achieve the design aim but also to express the culture and technologies of their time to set
Copyright: © 2023 by the author.
the standard for prospective ways of living. It is a known fact that architects often obtain
Licensee MDPI, Basel, Switzerland.
inspiration from nature for various contexts in their designs [1–9]. The relationship and
This article is an open access article
connection between architecture and nature is one that has brought forth many questions,
distributed under the terms and
criticisms and solutions. Several examples in the past demonstrate the relationship between
conditions of the Creative Commons
Attribution (CC BY) license (https://
architecture and nature. Presently, architecture moves beyond spiritual, symbolic and
creativecommons.org/licenses/by/
aesthetic uses of natural forms to more sophisticated ‘bioinspired’ performance-based
4.0/). building design towards sustainable development. New form of designs was introduced
Encyclopedia 2023, 3, 202–223. https://doi.org/10.3390/encyclopedia3010014 https://www.mdpi.com/journal/encyclopedia

Encyclopedia 2023, 3 203
several years ago which requires modern man to look at the biological functions or processes
found in nature for inspiration, which are “biomimetics” or “biomimicry”. These novel
bioinspired design approaches involve an understanding of natural sciences, biological
processes or the entire biological ecosystem beyond only mere formal or appearance
imitations [10,11].
Note that ‘biomimetics’ and ‘biomimicry’ are based on the same scientific methodology,
which is an interdisciplinary design approach through the understanding of a biological
role model. In particular, ‘biomimicry’ stresses the interconnectedness of systems to solve
complex problem in design and today’s environmental challenges. In fact, animals and
plants know how to implement strategies to adapt to their environment and their trans-
formations develop within a sustainable ecosystem. Nowadays, technical advances at a
very small scale (micro, nano) allow us to have a deeper understanding of the functioning
of nature and provide a new source of knowledge and inspiration for architecture [12,13].
Admittedly, the architects have always been inspired by nature, it is still the case today
and it will probably be in the future. However, we must distinguish a primarily formal
bioinspiration with only an aesthetic or symbolic aim to biomimicry whose objective is
innovation and sustainability. It is also necessary to distinguish among several bioarchi-
tectural movements from the past to the present and how they lead to today’s biomimicry
framework, because there is a great deal of terminological confusion due to the fact that we
often associate terms from the life sciences with certain architectural design activities [14].
Nature presents such a multitude of phenomena that the length of time for research and
maturation of a possibility of transfer to architectural design can be complex. Biomimetic
design activities necessarily require multidisciplinary expertise involving biologists, archi-
tects and other scientific fields, which is still the main constraint within architectural design
practices. Focused methodologies for analogical transfer and interdisciplinary exchanges
can facilitate biomimetic design process and implementation in architecture [14–16]. More-
over, the use of computational design and digital fabrication have recently supported
architects in studying and simulating biological models, helping to transfer them better
into architectural design contexts [17].
This entry presents principal bioarchitectural movements and how they lead to today’s
biomimicry framework. It aims to define biomimicry methodologies and how this approach
applies to architectural design contexts through the study of existing case studies. The paper
is divided into five sections; (1) Introduction; (2) Bio prefix in architecture; (3) Biomimetic
design methodologies and tools; (4) Biological analogy and architectural design; and
(5) Discussion and the outlook of the field.
2. Bio Prefix in Architecture

Nature has always been a source of inspiration for architecture, creating several bio-
movements through historical to today’s contemporary period. Numerous terms including
the prefix ‘bio’ have been associated with the architecture thus creating a great confusion
and a terminological ambiguity. These closed terms have different meanings and schemes
but can be grouped under the generic term ‘bioinspired’. It refers to taking inspiration from
nature to create new objects or processes that do not directly use of nature in the design
production.
Biomorphic architecture corresponds to a conception directly influenced by the organic
forms of animals, plants and the human body [18,19]. It has its roots in the Art Nouveau
movement at end of the 19th century. It is a matter of imitating nature by carrying out
expressive formal and symbolic associations. For example, one might argue that Gaudi’s
vaults based on his study of natural forces with the use of hanging chain models are an
example of architecture whose expression and constructive configurations are borrowed
from nature. Additionally, the works of Santiago Calatrava have been influenced by Gaudi.
In the same way as Gaudi, forms found in nature inspired the architecture of Santiago
Calatrava, such as the skeletal wing-like structure of the kinetic brise soleil of the Milwaukee
Art Museum.
Presently, new computational design software and digital fabrication technology have
progressed the biomorphic approach in more biological complex geometries and patterns to
design and develop a number of different kinds of optimization algorithms that have been
widely used in both theoretical study and practical applications, such as sand formation,
variations on algorithmic tree-branching structure and snake skin patterns [20].
Biological growth or ‘metabolism architecture’ found in Japan between the late 50s
and early 60s. The metabolism movement sought to create non-static architectural megas-
tructures inspired by organic biological growth. This approach was to design building parts
that can be prefabricated, replaced and removable when their lifespan is over, like living
cells in an organism [21,22]. The Nakagin capsule tower, designed by Kisho Kurokawa is
representative of metabolic architecture embodying the ideas of adaptability to changes in
periods of time.
Bionic architecture evolved from Boolean morphology made possible by advances in
digital software during the 1970s and 1980s, which focuses on the transfer of life forms
and processes to building and mimicking the expressive and constructive configurations in
nature. Its goal is the synthesis of nature in modern constructive technologies [23,24]. Bionic
practices in architecture give rise to new forms that are functionally efficient and original
in their aesthetic quality, but without regard to the principles of nature or necessarily
sustainable development. Bionic architecture differs from biomorphism in that it is inspired
by biological processes developed by organisms, not necessarily by forms. As seen in Greg
Lynn’s Embryological House, the house transformation was animated as a living form in
digital artifact [25]. Another example is Biothing of Alisa Andrasek, which shows the use
of computational tools to calculate and generate forms from codes and parametric data
period. It is based on genetic models and operates beyond form and geometry, using the
power of self-creation and the evolution of algorithms [26]. This is also seen in the project
‘Theverymany’ by Marc Fornes that uses computational design and digital fabrication to
imitate the biological self-replication process in architectural form [27].
Bioclimatic and biophilic architecture also involve the relationship between nature and
building morphology. Although not considered within the bioinspiration framework, they
share a paradigm shift in our relationship with nature, but are not derived from strategies
found in nature as described below;
Bioclimatic architecture is a discipline of architecture whose objective is to take ad-
vantage of the conditions of a site and its environment. This architecture adapts to the
characteristics and particularities of the location: its climate (or microclimate), geography
and geomorphology, including its habitat. With the aim of improving the comfort and
energy efficiency of the building, bioclimatic architecture uses passive strategies, techniques
and constructions to heat, cool and/or ventilate the interior of a building [28,29].
Biophilic architecture is an approach to architecture that seeks to connect building
occupants more closely to nature. Heerwagen and Hase [30] were the first to define
various features in biophilic architecture. This design concept derives from the ‘biophilia’
philosophy, introduced by a psychoanalyst named Erich Fromm [31] who stated that
biophilia is the “passionate love of life and of all that is alive” Thus, biophilic design
addresses nature’s incorporation to architecture for well-being, whether vegetation or
animal. In the past, biophilic architecture only referred to mere applications of vegetation
in buildings, but today, this approach has a more complex design framework towards many
aspects e.g., enhancing health, well-being, productivity, biodiversity and circularity [32–34].
The most recent approaches, which evolve from the bioinspiration framework are
‘biomimetics’ and biomimicry’. The two approaches have the same scientific method
involving cross-disciplinary design activities and interdisciplinary collaboration between
architects, biologists and relevant scientific fields. Biomimetics and biomimicry derive from
the true understanding of biological science rather than appearance, beyond only mere
natural form imitations. We will discuss the emergence of these two approaches and how
they shift and apply to architecture and construction.
The Origin of Biomimetics and Biomimicry

As described in the previous section, there have been several bioarchitectural move-
ments but it has been more an overlapping between art and architecture taking the visual
forms and direct representation from nature for architectural elements rather than inspired
interpretation [35].
The term ‘biomimetics’ was coined by Otto H. Schmitt around 1950. During his
doctoral thesis, Schmitt studied the octopus’ nervous systems to create his electric circuit
bioinspired medical–engineering invention. This led to his ‘biomimetic concept’ and estab-
lished a new interdisciplinary field of biomedical engineering that he termed ‘biomimet-
ics’ [36]. Biomimetic design was initially known only in small groups of medical and
engineering research fields. This was the case until 1970, when zoologist Werner Nachtigall
started to diffuse ‘biomimetics’ (in the German language, the term used is ‘bionik’, which
is the same as ‘biomimetics’) in Europe, particularly in German-speaking countries. His
book Bau-Bionik: Natur-Analogien-Technik authored with architect Göran Pohl identified the
biomimetic design process as a scientific method [37]. The book was later translated into
an English version Biomimetics for Architecture & Design: Nature-Analogies-Technology [38].
The English version precisely describes the analogical principles of transferring biological
strategies or models to architectural design context.
The term “biomimicry” appeared as early as 1980, during the time of a decisive
period for sustainable development. Biomimicry was popularized by the biologist and
environmentalist Janine Benyus, the author of the book Biomimicry: Innovation Inspired by
Nature, first published in 1997 [39]. Biomimicry is defined in her book as a new science that
studies nature in order to observe or be inspired by it for innovation from a perspective of
sustainability. Benyus suggests looking at nature as a model, measure or mentor [39].
Biomimicry has evolved the architectural design method and practice towards more
innovation and sustainable awareness beyond only visual organic forms. Architect Mick
Pearce has effectively demonstrated the initial use of biomimicry in his projects (during
1991–2003). He designed an innovative ventilation system inspired by the autoregulation
of the termite mound to reduce energy consumption of tradition HVAC systems in several
buildings in Africa. The most well-known example is the Eastgate building in Harare,
Zimbabwe [40]. Whilst his projects successfully demonstrate the inspiration from nature in
combination with traditional passive design strategies, Pearce was a self-taught biologist;
in fact, he observed biological strategies from the termite mounds himself without any
collaboration with biologists. Later on there was a claim of scientific research questioning
some misleading biological principles of the termite mound as presented in the Eastgate
building project [41]; however, imprecise biological knowledge did not affect the design of
his bioinspired ventilation system.
Both biomimetics and biomimicry have the same core interdisciplinary design method-
ology but with a slight difference in relation to sustainable awareness. Biomimetics refers to
an interdisciplinary design process and collaboration through the understanding of biologi-
cal functions, and the abstraction and transfer of biological principles into new technical
applications [36,42–48]. Initially, biomimetics involved biology–technology transfers, only
with more focus on innovation than on sustainability. Biomimicry added environmental
values taking nature as a model to meet the challenges of sustainable development (social,
environmental, and economic) [39,49–53]. In architectural practices, the term ‘biomimicry’
is more widely used than the term ‘biomimetics’ but these two terms can be used inter-
changeably in academic and research groups.
The industrial sector has rapidly seized on biomimetics, which has led to innova-
tions in different fields but has not necessarily always taken into account the challenges
of sustainable development [54]. Well-known examples of existing biomimetic design
applications are: a hook and loop fastener Velcro inspired by the Burdock Plant; the head of
the Shinkansen train inspired by the kingfisher’s beak; Lutosan coating inspired by the self-
cleaning phenomenon of lotus’s leaf; a reusable adhesive inspired by the nanostructured
hair of gecko’s feet and the Mercedes bionic car inspired by the structural morphology of
the box-fish [55].
In architecture, on the other hand, biomimetics/biomimicry is mainly perceived as a
novel innovative design method inspired by nature along with a means of responding to
current environmental issues. Until the present day, examples of biomimetic architecture
are still rare because biomimetic design is more realizable in small scale systems or products
as it is a direct transfer from biological models to technical systems. On the contrary, in
architecture and construction, the direct transfer is not directly applicable due to the multi-
requirements of the architectural project and its economic and social contexts [15]. The goal
of biomimetic architecture is no longer simply to give form and measure to space, but also
to develop synergistic relationships between the built and its environment.
Petra Gruber published the first book on Biomimetics in Architecture—Architecture of
Life and Buildings in 2011. In her book, she addressed biomimetics in architecture dealing
with classic approaches common to the overlapping between architecture and biology, the
architectural interpretation of life and the notion of living architecture [14].
Until today, biomimetics and biomimicry are still mostly known and diffused in
academic and research groups, rather than in architectural and construction practice, as seen
in the numbers of scientific productions [14,38,51,56–64]. While examples of bioinspired
architectural productions are numerous, those based on biomimetic design activity are rare.
Architect Michael Pawlyn has written two editions of his book Biomimicry in architecture,
guiding some biomimicry principles for architectural practices [65,66]. Pawlyn addresses
some principles applying biomimicry toward sustainable architecture; how architects can
be inspired by biological structure to design a more efficient building while using less
materials and energy; how architects can learn from forest circulation to manage the water
infrastructure and how architects can learn from the natural ecosystem to create waste-free
production, for example.
Theoretically, there are diverse sustainable strategies that we can learn from nature.
However, it is not a trivial task to transfer biological principles to artefact design application,
particularly to fit the entire architectural context. Thus, theoretical frameworks, analogical
transfer methodologies and tools to help facilitate the biomimetic design process and
activities in the architectural field need to be focused on.
3. Biomimetic Design Methodologies and Tools

Some exiting/developing biomimetic design methodologies, mostly towards the engi-
neering and industrial domain, are developed in [42,67–73]. More or less, these methodolo-
gies have a common framework as agreed by biomimetic specialists; the two approaches
and the three levels of biomimicry. Some tools are also proposed to support the biomimetic
design process.
3.1. Process Sequences in Biomimetic Design

The biomimetic design process is bidirectional, analogical-based and interdisciplinary.
Biomimetic specialists currently agree that there are two possible approaches: either we
start from a design problem and we try to find strategies in nature that we could transfer
to solve the design problem or we look for strategies in nature with our interest in new
invention and we try to transfer them to new design methods or products [74,75]. Both
approaches require a multidisciplinary activity, mainly involving designers and biologists.
The first approach starts with a human need or design problem and then examines the
ways in which organisms or ecosystems in nature can solve that problem. This is a problem-
oriented approach (top-down or design looking to biology). This approach is effectively
carried out by designers who, after identifying the initial objectives and parameters of the
design, look for solutions in the plant or animal world (Figure 1a).
The first approach starts with a human need or design problem and then examines
the ways in which organisms or ecosystems in nature can solve that problem. This is a
problem-oriented approach (top-down or design looking to biology). This approach is ef-
Encyclopedia 2023, 3 fectively carried out by designers who, after identifying the initial objectives and param- 207
eters of the design, look for solutions in the plant or animal world (Figure 1a).
Specific Problem Biological Identify Abstraction Implementation

Problem Reframing Solution Search Principles
(a)
Biological Define biological Principles Problem Abstraction Implementation

Solution Search Solution extraction definition
(b)
Figure
Figure 1. Sequences
1. Sequences of biomimetic
of biomimetic design
design process:
process: progress
progress of aofbiomimetic
a biomimetic project
project from
from biological
biological
models
models to biomimetic
to biomimetic applications:
applications: (a) (a) Problem-oriented
Problem-oriented process;
process; (b)(b) Solution-oriented
Solution-oriented process.
process.
TheThe second
second approach
approach consists
consists in identifying
in identifying interesting
interesting principles,
principles, behaviors
behaviors or func-
or func-
tions in an organism or an ecosystem, and then looking for a design problem that could be
tions in an organism or an ecosystem, and then looking for a design problem that could
be addressed.
addressed. This
This is
is aa solution-oriented
solution-orientedapproach
approach(bottom-up
(bottom-upororbiology
biologyinfluencing
influencingdesign).
de-
This approach is one where the knowledge of biology influences
sign). This approach is one where the knowledge of biology influences human human design. It isItled
design.
by people
is led with
by people a scientific
with knowledge
a scientific knowledge of nature whowho
of nature are are
looking for for
looking possible applications
possible appli-
relevant to the design (Figure 1b).
cations relevant to the design (Figure 1b).
3.2. Levels of Biomimetic Design
3.2. Levels of Biomimetic Design
Biological role models or natural phenomenon can inspire architectural design at
Biological role models or natural phenomenon can inspire architectural design at dif-
different levels; it can be categorized into three levels: organism, behavior and ecosystem.
ferent levels; it can be categorized into three levels: organism, behavior and ecosystem.
The organism level refers to a specific being such as a plant or animal and may involve
theThe organism
imitation of alevel
part refers to a specific
of the organism being
or the such as a plant or animal and may in-
whole.
volve the The behavior level refers to the behavior of awhole.
imitation of a part of the organism or the being and may include the translation of
anThe behavior
aspect of the level refers behavior
organism’s to the behavior of a being
and possibly and may
its relation to include
a larger the translation
context.
of an aspect of the organism’s behavior and possibly its relation to a larger
The ecosystem level is the imitation of an entire natural ecosystem and the principles context.
The
that ecosystem
enable level is the
it to perform imitation
functions of an entire natural ecosystem and the principles
successfully.
that enable it to perform functions successfully.
Within each of these three levels, five additional dimensions of imitation exist. Design
canWithin each offor
be mimetic these three levels,
example in terms fiveofadditional dimensions
what it looks like (what of imitation
does theexist.
formDe- serve
signforcan
anbe mimetictofor
organism example what
survive?), in terms
it isofmade
whatofit (material
looks likecomposition),
(what does thehow form it serve
is made
for(construction
an organism process),
to survive?),
howwhat it is(performance)
it works made of (material composition),
or what how it [76].
it does (function) is madeThese
Encyclopedia 2023, 3, FOR PEER REVIEW 7
(construction process), how it works (performance) or what it does (function)
five sub-levels are proposed by Maibritt Pedersen Zari to better facilitate the transfer [76]. Thesefrom
fivebiology,
sub-levels are proposed
in particular by Maibritt design
to architectural Pedersen Zari to(Figure
contexts better facilitate
2). the transfer from
biology, in particular to architectural design contexts (Figure 2).
The Levels of Biomimicry

Additional sub-levels
ORGANISM
Construction
Material
Function
Process
Form
BEHAVIOUR
ECOSYSTEM
Threeprincipal
Figure2.2.Three
Figure principallevels
levelsand
andfive
fivesub-levels
sub-levelsofofbiomimicry
biomimicryfor
forarchitectural
architecturaldesign.
design.
The following presents examples for each level of existing biomimetic architecture
The following presents examples for each level of existing biomimetic architecture
case studies.
case studies.
3.2.1. Organism Level

The organism level corresponds to a biomimetic form, surface and material. Biomi-
metic design at an organism level means looking at parts of an organism how it functions
to serve the organism to survive. Interesting biomimetic strategies at organism level are
inspired by animal skins [57], plant surfaces [77] or organism morphology adaptations
3.2.1. Organism Level

The organism level corresponds to a biomimetic form, surface and material. Biomimetic
design at an organism level means looking at parts of an organism how it functions to serve
the organism to survive. Interesting biomimetic strategies at organism level are inspired
by animal skins [57], plant surfaces [77] or organism morphology adaptations [78], for
example. Most biological systems that inspire architectural design are multi-functionality,
self-responsive and adaptive. These strategies are recently applied in building envelopes
or façade components’ design.
Examples of biomimetic architecture at organism levels are: the Esplanade theatre,
Singapore (2002); the Swiss Re Building, London (2003) and Pho’liage, France (2019).
Esplanade Theatre on the Bay, Singapore [15] is a cultural performance space and
concert hall. Architect Michael Wilford was asked to design a glass dome for an expressive
view in all directions for the interior. However, Singapore is so close to the equator, which
is a hot–humid climate, so that an entire glass dome could have allowed the interior of
the building to overheat. Based on the biomimetic design framework, this project was a
top-down approach starting from the ‘design problem’. Wilford reframed the problem by
understanding the need for ‘a new skin design of the glass dome’. He initially searched
for bio-role models that have a similar morphology of the glass dome and their skins that
have a thermoregulation capacity to protect from the heat. Inspired by the local durian
fruit shell’s characteristics, Wilford proposed a new design concept of an alternative double
skin envelope that can help to reduce excessive solar heat inside the building [79].
Durian fruit (Durio zibethinus) is composed of three layers, the outer most layer ‘exo-
carp’, the middle layer ‘mesocarp’ and the inner most layer ‘endocarp’. The sponge-like
material of the middle layer has a thermal property to help keep the durian fruit always
fresh and secure inside the cocoon, while the outer layer has the spike-like characteristic that
helps to protect the fruit from overheating in sun radiation (Figure 3a) [80]. The architect
applied the double-skin layer strategies by replacing external triangular aluminum lamella
fins varying in geometry and calculated according to the year-round sun path as the second
skin on top of the glass dome (Figure 3b). There are in total 6200 aluminum fins, which
have the same base dimension but are a different height so that their tips are at different
angles according to the year-round sun path position to provide the maximum shading in
all directions. At the same time, the fin-shading devices allow for the preservation of the
view from the building’s interior to the expressive view of the surrounding bay (Figure 3c).
In addition, the architect mentioned the choice of durian fruit as the bio-role model
for this problem-solving design because it is also a symbolic fruit of Singapore named as
‘King of tropical fruit’ [81]. Thus, the bioinspired concept of the esplanade theatre has also
become an iconic design feature in Singapore (Figure 3d).
The Swiss Re Building (officially 26 St. Mary Axe) is an office and a commercial
building located in the Baltic Exchange district in London [15]. The particularity about this
district is the strong local wind so there are not many high-rise buildings constructed in
the area. The architect (Norman Forster) was asked to build one of the first commercial
high-rise buildings; thus, the design of the building must have a minimum impact on the
local wind environment whilst being constructed with steel light-weight structure. To
achieve this problem-solving design situation, the architect team observed a marine animal
that lives anchored to the deep ocean floor called the Venus’ flower basket (Euplectella
aspergillum) (Figure 4a). The silica skeleton of the Venus’ flower basket sea sponge is tough
and stable because multiple levels of organization each help to manage forces that help the
sponge to disperse strong water currents [82,83]. Analogically to the pressure of the air
around the high-rise building, the Gherkin is designed in a cylindrical form, which allows
the wind to easily whip around the tower (Figure 4b). The building structure constructed in
a grid form using the diagrid-architecture system inspired by the lattice-like exoskeleton of
the Venus’ flower basket for a strong assembly of light-weight steel structure [84]. Some of
diamond-shape windows can be opened to profit from the local wind for natural ventilation
to reduce energy consumption.
In addition, the architect mentioned the choice of durian fruit as the bio-role model
for this problem-solving design because it is also a symbolic fruit of Singapore named as
‘King of tropical fruit’ [81]. Thus, the bioinspired concept of the esplanade theatre has also
become an iconic design feature in Singapore (Figure 3d).
(a) (b)
(c) (d)
Figure 3. The
Figure Esplanade
3. The EsplanadeTheatres on on
Theatres thethe
Bay, Singapore
Bay, inspired
Singapore byby
inspired durian fruit
durian shell
fruit characteristics
shell characteristics
(Durio zibethinus): (a) Durian fruit; (b) Esplanade theatre’s envelope detail; (c) Esplanade
(Durio zibethinus): (a) Durian fruit; (b) Esplanade theatre’s envelope detail; (c) Esplanade theatre
theatre
building; (d) Esplanade theatre top view. Image (a): reprinted with permission 2021 © Natasha Heil.
building; (d) Esplanade theatre top view. Image (a): reprinted with permission 2021 © Natasha Heil.
Image (b–d): reprinted with permission 2018 © Pierre Côté.
Image (b–d): reprinted with permission 2018 © Pierre Côté.
TheInSwiss Re Building
response to climate (officially
change,26 St. Mary Axe)systems
space-cooling is an office and afor
account commercial
an important build-part
ingoflocated in the Baltic Exchange district in London [15]. The particularity
building energy consumption. At ArtBuild Paris, Steven Ware, lead architect with a about this dis-
trict is the background,
biology strong local wind so there
has been are nota many
developing high-rise shading
self-responsive buildings constructed
façade in the
system inspired
area. The architect (Norman Forster) was asked to build one of the first
by nyctinasty, a nastic movement or an open-close mechanism of flowers [85]. The architect commercial high-
rise buildings; thus, the design of the building must have a minimum
used a top-down approach in order to analyze existing dynamic shading façade systems, impact on the local
wind environment whilst being constructed with steel light-weight structure.
followed by a bottom-up approach searching for suitable strategies from nature in order to To achieve
this problem-solving
develop the functionaldesign situation,
component of the architect team
autonomous shading observed
façadeasystem.
marine animal that
lives anchored to the deep
The Pho’liage ® ocean
shading floorwas
device called the Venus’
developed by flower
studying basket (Euplectella aspergil-
the morphology and open-
lum) (Figure
close 4a). Theofsilica
mechanism skeleton
flowers of thetoVenus’
according flower stimuli
their external basket sea sponge
(Figure 5a).isThe
tough and
architects
stable because multiple levels of organization each help to manage
selected smart materials; shape memory alloy (SMA) and thermobimetal for the biomimetic forces that help the
sponge to disperse strong water currents [82,83]. Analogically
design application of self-responsive shading because it only needs a small amountto the pressure of the air of
around the high-rise building, the Gherkin is designed in a cylindrical
energy as these smart materials react themselves to external stimuli (e.g., temperature form, which allows
thechange)
wind to[86].
easily
Thewhip around the
autonomous towerdevices
shading (Figurereact
4b).toThe building
heat from the structure
sun, when constructed
the exterior
in temperatures
a grid form usingare above 25 ◦ C, the blades/petals
the diagrid-architecture systemopeninspired by the to
as flowers lattice-like exoskele-
form a vast window
toncurtain
of the protecting
Venus’ flower basket for
overheating a strong
inside assembly When
the building. of light-weight steel structure
the temperature decreases,[84].the
Some of diamond-shape
petals windowsnatural
deform to close allowing can be opened to profit
light to enter in to from
the the local wind
building (Figurefor5b)
natural
[87]. In
ventilation to reduce
this project, energyalso
the architects consumption.
continued to work on form-finding of the shading system to
suit with different architectural façade design contexts (different shapes and numbers of the
petals) [86]. By the end of 2022, Pho’liage® will be implemented and tested in a full-scale
architectural project at the new headquarters of the International Agency for Research on
Cancer (IARC) building in Lyon France, a project for which ArtBuild are also lead architects
(Figure 5c) [88].
023, 3, FOREncyclopedia
PEER REVIEW 2023, 3 9 210
(a)
(b)
Figure 4. Swiss Re Building
Figure 4.(Gherkin)
Swiss Reinspired
Buildingby Venus’ flower
(Gherkin) basket
inspired (Euplectella
by Venus’ floweraspergillum): (a)
basket (Euplectella aspergillum):
Venus’ flower basket(a)under theflower
Venus’ ocean;basket
(b) Swiss Rethe
under Building,
ocean; London.
(b) SwissImage (a): Wikipedia.
Re Building, London. Im-
Image (a): Wikipedia.
age. Image.
In response to3.2.2. Behavior

climate Level
change, space-cooling systems account for an important part
The level of behavior
of building energy consumption. At ArtBuild corresponds to a biomimicry
Paris, Steven Ware, leadofarchitect
process and
withperformance.
a It is
not the organism itself that is imitated but the way it
biology background, has been developing a self-responsive shading façade system in- behaves, observing an interacting
phenomenon
spired by nyctinasty, between the
a nastic movement ororganism and itsmechanism
an open-close own environment. Two[85].
of flowers examples
The of biomimetic
architecture
architect used a top-down at this in
approach level are:tothe
order NBF Osaki
analyze Building
existing dynamic (BIOSKIN)
shading(2011)
façadeand District 11,
Skolkovo Innovation center (2017).
systems, followed by a bottom-up approach searching for suitable strategies from nature
The architects (NIKKEN SEKKEI) were asked to design an office building in Tokyo,
in order to develop the functional component of autonomous shading façade system.
which can be very hot during summer. The initial idea was to create a type of ‘bioskin’
The Pho’liage® shading device was developed by studying the morphology and
envelope that can passively regulate the temperature for the interior of the building once
open-close mechanism of flowers according
the temperature to their too
outdoors becomes external stimuli
hot. The idea(Figure 5a). The
also related ar-use of water to
to the
chitects selected smart materials; shape memory alloy (SMA) and thermobimetal for the
reduce heat by the Japanese tradition Uchimizu, which refers to the sprinkling of water in
biomimetic designJapanese
application of self-responsive
gardens and streets. During shading becauseperiod,
the summer it onlyJapanese
needs apeople
small use Uchimizu
amount of energy for as these
cooling down the area and also for other hygienic purposes [89]. tem-
smart materials react themselves to external stimuli (e.g.,
perature change) [86]. The autonomous shading devices react to heat from the sun, when
the exterior temperatures are above 25 °C, the blades/petals open as flowers to form a vast
window curtain protecting overheating inside the building. When the temperature de-
creases, the petals deform to close allowing natural light to enter in to the building (Figure
5b) [87]. In this project, the architects also continued to work on form-finding of the shad-
ing system to suit with different architectural façade design contexts (different shapes and
numbers of the petals) [86]. By the end of 2022, Pho’liage® will be implemented and tested
in a full-scale architectural project at the new headquarters of the International Agency
cyclopedia 2023, 3, FOR PEER REVIEW 10

for Research on Cancer (IARC) building in Lyon France, a project for which ArtBuild are
also lead architects (Figure 5c) [88].
(a) (b)
(c)
Figure 5. Pho’liage ® inspired
Figure 5. Pho’liage ® by nyctinasty:
inspired (a) Prototype
by nyctinasty: of Pho’liage
(a) Prototype autonomous
of Pho’liage shading
autonomous device;
shading device;
(b) Simulation test of the
(b) Simulation shading
test device device
of the shading according to temperature
according change;
to temperature (c) Simulated
change; model
(c) Simulated ofof the
model
the shading devicedevice
shading envisaged to betoimplemented
envisaged at IARC.
be implemented Reprinted
at IARC. with
Reprinted withpermission.
permission.2019
2019©©Art-
ArtBuild
Build Paris.
Paris.
3.2.2. BehaviorThus,
Levelthe architects combined traditional culture with a biomimetic approach. The
The design
level ofproblem
behaviorwas to invent atofacade
corresponds design that
a biomimicry used rain
of process andwater to cool down
performance. It is the
building and the neighborhood area during the summer period. Inspired by the principle of
not the organism itself that is imitated but the way it behaves, observing an interacting
homeostasis, the architects observed the phenomenon of human perspiration phenomenon,
phenomenon between the organism and its own environment. Two examples of biomi-
which is an internal physiological self-cooling mechanism in the human body to respond to
metic architecture at this level are: the NBF Osaki Building (BIOSKIN) (2011) and District
the degree of heat [90]. This biological process triggered the architect to design an exterior
11, Skolkovo Innovation
envelope in ceramiccenter
pipe(2017).
which converged in a collection system of the rainwater creating
The an
architects (NIKKEN
exterior, evaporative SEKKEI) were asked
cooling-system to design
sprinkling an office
water building
in reaction in temperature
to the Tokyo,
which can be veryWhen
outside. hot during summer. outdoor
the temperature The initial idea was
exceeds to create
a certain a type
degree, of ‘bioskin’
the ceramic pipe will
enveloperelease
that canthepassively regulate the
water vaporization fortemperature for the interior
cooling the temperature of theofbuilding
the building
and atonce
the same
the temperature
time thisoutdoors becomes
can also cool down too hot. Thearea
the exterior idea also related
around to thecreating
the building use of awater to
microclimate
reduce heat by the
around Japanese tradition
neighboring buildings.Uchimizu,
This passivewhich refers
cooling to theissprinkling
system of water
not at all energy in
intensive
Japanese to run; inand
gardens fact, the water
streets. Duringpumpthe that
summercirculates
period, rain water through
Japanese people usetheUchimizu
pipes is small
and
for cooling activated
down by and
the area a tiny amount
also of electricity
for other generated[89].
hygienic purposes by solar cells installed on the
building’s south-facing eaves. The maximum surface
Thus, the architects combined traditional culture with a biomimetic temperature of this BIOSKIN
approach. The system
is around 12.6 ◦ C lower than a normal facade. This biomimetic invention estimates to
design problem was to invent a facade design that used rain water to cool down the build-
reduce
ing and the the building’s
neighborhood total
area energy
during theconsumption
summer period.by about 3% by by
Inspired cooling air aroundofoffice
the principle
windows [66,91].
homeostasis, the architects observed the phenomenon of human perspiration phenome-
District 11—Skolkovo Innovation center, also known as the Russian Silicon Valley, is
non, which is an internal physiological self-cooling mechanism in the human body to re-
located at Skolkovo, near Moscow which is considered an extremely cold climate area. The
spond to architects
the degree of heat
(Béchu [90]. Thiswere
& Associés) biological process
asked to designtriggered
the planningthe of
architect
a grouptoofdesign
housing for
an exterior envelope in ceramic pipe which converged in a collection
researchers from abroad who come to work at the center. The specification of the system of the rain-master
water creating an exterior, evaporative cooling-system sprinkling water in reaction
plan was to design the village in a circular form so that it can create social interaction to the
temperature outside.
for each When thefamily.
researchers’ temperature outdoor
The initial design exceeds
problem a certain
was todegree,
designthetheceramic
master plan
pipe willalong
release thethe
with water vaporization
arrangement for cooling
of each house inthe thetemperature
most effective of the
waybuilding
to createand a warm
FOR PEER REVIEW 11
Encyclopedia
at the2023, 3
same
time this can also cool down the exterior area around the building creating a 212
microclimate around neighboring buildings. This passive cooling system is not at all en-
ergy intensive to run; in fact, the water pump that circulates rain water through the pipes
microclimate
is small and activated by a tiny amount withinofthe village. The
electricity architectbychose
generated solarthe emperor
cells penguin’s
installed on social huddling
phenomenon
the building’s south-facing eaves. as Thea bio-role
maximum model, from the
surface perspectiveof
temperature of this
a circular self-organization pattern
BIOSKIN
system is around 12.6 °Cthat produces
lower than thermal
a normalregulation
facade. Thisandbiomimetic
heat transferinvention
to the group of penguins helping them
estimates
to survive from the extreme cold [92].
to reduce the building’s total energy consumption by about 3% by cooling air around of-
fice windows [66,91]. Emperor penguins live in the cold Antarctic area, where there is a storming cold
wind from time to time. Once there is such an extreme cold situation, the penguins
District 11—Skolkovo Innovation center, also known as the Russian Silicon Valley, is
start to gather forming themselves into a group, the penguin moves from outside to
located at Skolkovo, near Moscow which is considered an extremely cold climate area.
inside which can allow each penguin to stay warm from time to time in order to survive.
The architects (Béchu &There
Associés) were asked
are different to design thepatterns
self-organization planning of a group
depending onofdifferent
housingbreeding stages [93].
for researchers from abroad
Based on this phenomenon, the architect studied mathematicalmas-
who come to work at the center. The specification of the models of the emperor
ter plan was to design penguin’s
the villagesocial
in a circular
huddling form so that
pattern; theitexisting
can create social interaction
mathematical models are executed by an
for each researchers’ family. The initial
interdisciplinary design problem
collaboration between was to design
biologist, the master
physicist plan
and mathematician. Based on
along with the arrangement of each
these models house
[94,95] in the
Figure 6a, most effective
the architect usesway
the to create a warm
mathematic models for the calculation
microclimate within the village.ofThe
algorithm architect
design software chose the emperor
simulation penguin’s
to transpose the huddlesocialpatterns
hud- in to form-finding
dling phenomenon as afor bio-role model,arrangement
each housing from the perspective
with maximum of a circular self-organization
heat transfer between the individual houses
(Figure 6b,c).
pattern that produces thermal This biomimetic
regulation strategy
and heat transfer topositions
the group each house in circular
of penguins help- form at different
angles to protect from
ing them to survive from the extreme cold [92]. an extreme cold wind during winter and also to increase heat transfer
between each housing that helps to gain 5 ◦ C more heat inside the house [92,96,97].
Emperor penguins live in the cold Antarctic area, where there is a storming cold wind
from time to time. Once there is such an extreme cold situation, the penguins start to
3.2.3. Ecosystem Level
gather forming themselves into a group, the penguin moves from outside to inside which
The ecosystem level is a biomimetic design that seeks to mimic network systems
can allow each penguin to stay warm from time to time in order to survive. There are
found in nature. It is about understanding how the relationships between species and
different self-organization patterns depending on different breeding stages [93]. Based on
their environment produce an ecosystem that is stable over time and therefore sustainable.
this phenomenon, the Indeed,
architectinstudied mathematical models of the emperor penguin’s
nature, all waste generated by animals and plants is a contribution to other
social huddling pattern; the existing mathematical
animals and other plants. Building modelsnetworks
are executed
or urban by an interdisci-
planning that would be able to
plinary collaboration between biologist, physicist and mathematician.
emulate this natural process could work autonomously and sustainably. Based on these
models [94,95] Figure 6a, the The architect
ecosystem usesis the mathematic
considered as themodels for the one
most complex calculation al- the natural entire
as to imitate
gorithm of design software simulation to transpose the huddle patterns in to form-finding
network to artefact entire network is not a trivial task. In addition, architects need to
for each housing arrangement
have a bigger withscale
maximum heat knowledge
of biological transfer betweenabout how the organisms
individualinteract with other
houses (Figure 6b,c). This biomimetic
organisms and withstrategy
their positions
environments,each house
includingin circular form at
further knowledge in the Ecology
domain
different angles to protect from(biodiversity,
an extreme cold nichewindconstruction,
during winter food web,
and also complex network, social ecology,
to increase
heat transfer between etc.)
each[98,99].
housing Interesting
that helps examples
to gain of 5architectural
°C more heat projects
insideat this
the level
house are: the Sahara Forest
[92,96,97]. project (2012) and the Regen Village (2016).
(a)
Figure 6. Cont.
R PEER REVIEW
Encyclopedia 2023, 3 12 213
(b)
(c)
Figure 6. District 11—Skolkovo Innovation
Figure center
6. District inspired by
11—Skolkovo emperor center
Innovation penguin social huddling:
inspired by emperor penguin social huddling:
(a) Master plan design; (b) Skolkovo
(a) Mastervillage district(b)
plan design; 11;Skolkovo
(c) Skolkovo’s
village housings
district 11;details. Imageshousings
(c) Skolkovo’s (a– details. Images (a–c):
c): reprinted with permissionreprinted
2019 © Agence Bechu & Associés.
with permission 2019 © Agence Bechu & Associés.
3.2.3. Ecosystem Level The Sahara Forest design aimed to recreate a new environmental solution using local
resources to produce food, water and energy inspired by natural ecosystem principles
The ecosystem level is a biomimetic design that seeks to mimic network systems
(Figure 7a). The core technology was to bring seawater into the desert creating a salt
found in nature. It is about understanding how the relationships between species and
extraction system to cultivate greenhouse and vegetation in desert areas (Figure 7b). The
their environment produce an ecosystem that is stable over time and therefore sustainable.
photovoltaic panels were used to collect solar power to produce electricity, including the
Indeed, in nature, all wasteusegenerated
of algae toby animals
produce and plants
biofuels [65,66].isThis
a contribution to other
large-scale urban project is one of the best
animals and other plants. examples
Building networks or urban planning that would be
of biomimetic design at ecosystem levels to recreate able to em-
life in many abandoned
ulate this natural process desert
could work
areas autonomously
for agriculturaland sustainably.
production. The project aims at rehabilitating desert areas
The ecosystem is considered as the most
by transforming themcomplex one as to imitate
into a sustainable the natural
and profitable local entire
resources. The Sahara Forest
network to artefact entire model
network wasis initially
not a trivial task. In addition,
implemented in Qatar,architects
Jordan, and need to have
recently in Tunisia and it will be
a bigger scale of biologicaltested
knowledge
in many about
otherhow organisms
possible interact
locations [100].with other organisms
The designfurther
and with their environments, including model knowledge
of the RegeninVillage (regenerative
the Ecology domainvillage)
(biodi-(Figure 8a) was created
versity, niche construction,byfood
researchers at Stanford
web, complex University
network, socialinecology,
collaboration with theInter-
etc.) [98,99]. Danish architectural design
esting examples of architectural projects at this level are: the Sahara Forest project (2012)a self-sufficient village
firm EFFEKT. The principal concept was to design and develop
model that operated in a closed-loop system [101]. The first model was built in 2016
and the Regen Village (2016).
in Almere,
The Sahara Forest design aimed an outskirts’
to recreate area environmental
a new of Amsterdam. solution
The village
usingwas completely autonomous
local
and environmentally friendly, which was able to produce its own energy, agriculture and
resources to produce food, water and energy inspired by natural ecosystem principles
recycle its own waste. After the first model in Almere, which was successfully tested and
(Figure 7a). The core technology was to bring seawater into the desert creating a salt ex-
developed (Figure 8b), the Regen Village is envisaged to be constructed in the outskirts
traction system to cultivate greenhouse
of several cities and vegetation
in many European in countries,
desert areas (FigureThe
including 7b).Netherlands,
The Germany and
photovoltaic panels were France
used to[102,103].
collect solar power to produce electricity, including the
use of algae to produce biofuels [65,66]. This large-scale urban project is one of the best
examples of biomimetic design at ecosystem levels to recreate life in many abandoned
desert areas for agricultural production. The project aims at rehabilitating desert areas by
transforming them into a sustainable and profitable local resources. The Sahara Forest
model was initially implemented in Qatar, Jordan, and recently in Tunisia and it will be
tested in many other possible locations [100].
EncyclopediaEncyclopedia
2023, 3, FOR2023,
PEER3 REVIEW 13 214
(a)
(a)
(b)
Figure 7. Sahara forest project inspired by natural ecosystem: (a) Sahara forest project in Tunisia; (b)
Food, re-vegetation and salt water system. Images (a,b): reprinted with permission from ref. [100].
Copyright 2020 © Exploration Architecture.
The design model of the Regen Village (regenerative village) (Figure 8a) was created
by researchers at Stanford University in collaboration with the Danish architectural design
firm EFFEKT. The principal concept was to design and develop a self-sufficient village
model that operated in a closed-loop(b) system [101]. The first model was built in 2016 in
Almere,
Figure 7. Saharaan7.outskirts’
Figure forest project
Sahara
area of by
inspired
forest
Amsterdam.
project
The village
natural ecosystem:
inspired by natural (a) Saharawas
ecosystem:
completely
forest autonomous
projectforest
(a) Sahara in Tunisia; and
(b)in Tunisia;
project
environmentally
Food, re-vegetation friendly,
and salt water
(b) Food, re-vegetation which
system.
and was
Images
salt water able to
(a,b):
system. produce
reprinted
Images its
(a,b):withown energy,
permission
reprinted agriculture
from ref. [100].
with permission and re-
from ref. [100].
cycle its own
CopyrightCopyright waste.
2020 © Exploration After the first
Architecture.
2020 © Exploration model
Architecture. in Almere, which was successfully tested and
developed (Figure 8b), the Regen Village is envisaged to be constructed in the outskirts of
The design
several model
Below
cities aof
inis manytheEuropean
summaryRegen Village
table all (regenerative
ofcountries,
case studies village)
according
including The(Figure 8a) wasdesign
toNetherlands,
biomimetic createdframework
Germany and
by researchers
(Table at Stanford
1).
France [102,103]. University in collaboration with the Danish architectural design
firm EFFEKT. The principal concept was to design and develop a self-sufficient village
model that operated in a closed-loop system [101]. The first model was built in 2016 in
Almere, an outskirts’ area of Amsterdam. The village was completely autonomous and
environmentally friendly, which was able to produce its own energy, agriculture and re-
cycle its own waste. After the first model in Almere, which was successfully tested and
developed (Figure 8b), the Regen Village is envisaged to be constructed in the outskirts of
several cities in many European countries, including The Netherlands, Germany and
France [102,103].
(a)
Figure 8. Cont.
(a)
(b)
Figure 8. Regen
FigureVillage inspired
8. Regen Village by natural
inspired byclosed-loop system: system:
natural closed-loop (a) Simulated model of
(a) Simulated Regen
model of Vil-
Regen Village,
lage, Almere; (b) Regen system: exchange between waste–food–water–energy. Images
Almere; (b) Regen system: exchange between waste–food–water–energy. Images (a,b): (a,b): re- reprinted
printed with permission from ref. [103]. Copyright 2022 © EFFEKT.
with permission from ref. [103]. Copyright 2022 © EFFEKT.
Table
Below Summary table
is a1.summary of the of
case
allstudies according
case studies to biomimetic
according design framework.
to biomimetic design frame-
work (Table 1).
Case Biomodel Approach Level Sub-Level(s)
Esplanade
Table 1. Summary Durian
of the case studies Top-down designOrganism
skin to biomimetic
according framework. Form, Function
Venus flower Form, Process,
Swiss Re Top-down Organism Construction
basket
Case BiomodelOpen-close Approach Level Sub-Level(s)
Pho’liage Bottom-up Organism Form, Process
Esplanade Durian skinFlower Top-down Organism Form, Function
NBF Osaki Perspiration Top-down Behavior Process, Function
Venus flower PenguinTop-down Form, Process,
Swiss Re Skolkovo Organism
basket huddling Top-down Behavior ConstructionFunction
Process,
Open-close Ecosystem Process, Construction,

Sahara Forest Bottom-up Ecosystem Function
Pho’liage ecologyBottom-up Organism Form, Process
Flower Close-loop Process, Construction,
Regen Village Bottom-up Ecosystem
NBF Osaki Perspirationsystem Top-down Behavior Function
Process, Function
Penguin hud-
Skolkovo
3.3. Tools for Biomimetic Top-down Behavior Process, Function
dling Design
As we have seen, biomimicry, as a transfer of strategies from Process,
biology Con-
to other disci-
Ecosystem ecol-
Sahara plines,
Forest is an emerging field of research that has led
Bottom-up to the definition
Ecosystem of meaningful
struction, Func- concepts
during the last 10 ogyyears. The development of such concepts is described tionby a biomimetic
process comprising several steps. However, in order to overcomeProcess, the challenges
Con- and facili-
tate the Close-loop
progress of sys-
the various stages, tools have been developed in various fields, such
Regen Village Bottom-up Ecosystem struction, Func-
as engineering, tem computer science and industrial design. In the article tion Biomimetics and
its tools [104], the researchers present an exhaustive panorama of 43 identified tools that
facilitate the biomimetic design process. However, these tools still remain known mostly
3.3. Tools for Biomimetic Design
in research and academic groups. There is only one tool that is publicly used, which is
As we have seen, biomimicry, as a transfer of strategies from biology to other disci-
AskNature.
plines, is an emerging
AskNature field of is
[105] research that
an online has led intended
database to the definition
to inspire ofgeneral
meaningful con- seeking
innovators
cepts during the last 10 years. The development of such concepts is described by a
information from biology that is relevant to their design challenges [106]. It is a public biomi-
metic process
databasecomprising
of biology several steps. categorized
information However, in byorder to overcome
function grouped inthe challengestaxonomy.
a biomimetic
and facilitate the progress
It bridges of the various
the gap between biologystages, tools have
and various been developed
innovative fields [107].in AskNature
various could
fields, such as engineering, computer science and industrial design. In the article Biomi-
help to identify nature’s strategies but it is still too generic to help specify the right natural
metics and its tools
strategy to[104], the researchers
suit particular present
contexts an exhaustiveinpanorama
and requirements of 43
architectural identified
design.
tools that facilitate the biomimetic design process. However, these tools still
There are also several other tools but they have been used only in the scientific remain research
groups, such as, Functional modeling, Natural language analysis, IDEA-Inspire software,
SAPPHIRE model, TRIZ and BioTRIZ. Functional modeling is a model developed by
Jacquelyn Nagel, professor of engineering at James Madison University [108]. It contains
the representation of biological systems using functional models to facilitate the transfer
between biology and engineering. IDEA-Inspire is designed to facilitate the stimulation
of ideation through biological inspiration [109] and the SAPPHIRE model is designed to
help understand biological systems [110]. BioTRIZ is a fusion between biomimicry and the
method of innovation TRIZ [111]. When using TRIZ, designers define their design problem
as a contradiction between different requirements that require optimization of one of the
40 design parameters proposed by the method to the detriment of other requirements. The
contradiction matrix developed in TRIZ allows us to discover which innovative principles
among the 40 proposed have been put forward to solve the problem encountered in earlier
designs. The BioTRIZ approach, based on the analysis of 500 biological phenomena,
proposes a new matrix of contradictions based on biological phenomena as a means of
stimulating the transfer between biology and engineering [112].
The tools presented above have mostly been tested in the scientific literature, research
and academic aims. Moreover, these tools are developed towards the industrial and
engineering design domains rather than architecture. The design specification, process and
scale of the construction context are more complex and have multi-layers of requirements.
Presently, there is still no tool to facilitate the biomimetic design process to suit architectural
design and construction;, it is still based on individual creative analogical design process
and digital tools to support the interpretation and the transfer from biological worlds to
buildings’ contexts.
4. Biological Analogy and Architectural Design

Biomimetic architecture is a cross-disciplinary design method between biology and
architecture fields. Architect Göran Pohl and biologist Werner Nachtigall decribed in
their book Biomimetics for architecture and design: nature-analogies-technology the biological
principles that can be used as a source of inspiration and applied in architectural solutions.
The authors specify that nature cannot be directly copied to provide architects with a wealth
of analogues and inspirations to achieve a true biomimetic design in architecture [38].
Nonetheless, it is not a simple take for architects to search for biological principles, to
understand and to transfer them to solve problem in their design. Pohl mentioned that
the inspiration from nature should not be direct interpretation, rather it should be well
abstracted within the context of an interdisciplinary analogue.
Pohl and Nachtigall identified the theory of cognition to biomimetic design process
(Figure 9), signified this in three steps: Research → Abstraction → Implementation [38]. The
most difficult steps for architects are ‘research’—where one needs to find the most suitable
biological role model to solve the design problem and ‘abstraction’—where one needs to
understand and translate biological principles into the architectural design context. The
implementation phase relates to the use of existing design techniques, material selection
and technology of the domain to achieve the best results of biomimetic application [74].
Transfer
Research Abstraction Implementation
Identification of the nature’s strategy Interpretation of the nature’s strategy
Analogy between nature and architecture
Figure 9. The three steps and two transitions of biomimetic design process: the selection of a biological
Figure 9. The three steps and two transitions of biomimetic design process: the selection of a biolog-
rolerole
ical model, the the
model, translation of biological
translation principles
of biological to design
principles contexts
to design and
contexts the
and implementation
the implementationofofa
abiomimetic
biomimeticapplication.
application.
In the international standard (ISO 18458) [47], biomimetic specialists specify “abstrac-
In the international standard (ISO 18458) [47], biomimetic specialists specify “abstrac-
tion and analogy” in the biomimetic design process to be a similarity in the relationships
tion and analogy” in the biomimetic design process to be a similarity in the relationships
between the parameters describing two different systems. The goal is to obtain the most
between the parameters describing two different systems. The goal is to obtain the most
complete analogy possible of the relevant problem in which it is possible to recognize the
complete analogy possible of the relevant problem in which it is possible to recognize the
common and the different aspects in the corresponding analogies by comparing (map-
ping) the individual aspects. For example, mapping possible aspects from a biological sys-
tem to a technical system can be functions, material, structure, shape, color, etc.
However, in the architectural domain, apart from the analogy from biological prin-
common and the different aspects in the corresponding analogies by comparing (mapping)
the individual aspects. For example, mapping possible aspects from a biological system to
a technical system can be functions, material, structure, shape, color, etc.
However, in the architectural domain, apart from the analogy from biological princi-
ples to design, it has other relevant contexts, such as: architectural values and design scales,
to be concerned to suit the particularity of each project. It can include: climate type, location
(where the building will be built), scale of design (a component, a system, a building, or
an urban infrastructure), including cultural and economic contexts of each places. Thus,
a direct analogy and transfer from biological systems to technical systems in the same
as other domains would not fit into an architectural project; thus, other design values
should also be included in the biomimetic process and implementation [113]. For example,
as shown in the case studies of the Esplanade theatre and NBF Osaki, the cultural and
traditional references of the local places sparked the idea and the choice of the architects to
select biological models for their problem-solving biomimetic designs (e.g., Durian as a
symbolic King Fruit and the Japanese tradition Uchimizu for sprinkling of water during
summer).
Moreover, scalability is one of the most challenging issues in biomimetic design.
In [114], the authors describe the problem of scaling biological principles to design artefacts
and specify that sometimes the transfer of a biological system in nano- or micro scale is not
always possible because biological structures lose their functionality when applied to dif-
ferent scale dimensions. In particular, in the architecture and construction domains, where
most of design and applications deal at large scales; however, the transfer of functional
strategies can be carried out if the rules of similarity are respected in other scales [115]. To
be able to achieve the analogical transfer from the natural world to architectural world
some similar contexts and scales can be compared and observed divided in four categoriza-
tions: at material scales, at building structure and system scales, at building function and
production (performance) scales and at network and infrastructure scales (Figure 10).
Figure10.
Figure 10.Similar
Similarcontexts
contextsand
andscales
scalesofoftransfer
transferfrom
fromnature
natureto
toarchitecture:
architecture:at
atmaterial
materialscales,
scales,at
at
building structure and system scale, at building function and production (performance) scales
building structure and system scale, at building function and production (performance) scales and at and
at network
network andand infrastructure
infrastructure scales.
scales.
Designby
Design byanalogy
analogyto tobiology
biology(biomimicry),
(biomimicry),as asshown
shownin inFigure
Figure10,10,demonstrates
demonstratesthe the
similar contexts between nature and the city starting from the material design
similar contexts between nature and the city starting from the material design scale, which scale, which
cango
can godown
downtotoa micro
a microor or nano
nano scale.
scale. Normally,
Normally, architects
architects identify
identify the specification
the specification to newto
new materials’
materials’ designdesign
but dobut
not do notthe
create create the material
material alone, italone,
needs it needs a collaboration
a collaboration with
with material
material scientists.
scientists. New bioinspired
New bioinspired materials materials can be observed
can be observed from science
from a natural a natural science phe-
phenomenon,
nomenon,
such as, how such as, how
different different
animals’ animals’
skins skinssurfaces
or plants’ or plants’ surfaces
interact withinteract with their en-
their environmental
vironmental
factors, factors,
to create a newto structure
create a new
or newstructure orproperties
types of new typesfor of existing
propertiesor for
newexisting
buildingor
new building
materials materials [116,117].
[116,117].
Design and evaluation deals with the building structure and system. For example,
we can observe how biological structures are light weight but resistant or study complex
geometrical or morphological forms in nature to optimize material used for building
structures [118,119].
Production relates building functions to their performances. For example, how we
Design and evaluation deals with the building structure and system. For example,
we can observe how biological structures are light weight but resistant or study complex
geometrical or morphological forms in nature to optimize material used for building
structures [118,119].
Production relates building functions to their performances. For example, how we can
learn from morphological differentiations in nature to design environmental adaptation of
buildings’ systems; learning from the termite mound for building thermoregulation [117],
or observing biological principles for living building envelope designs [120,121].
Network scales related to city infrastructure or urban design [122,123], for example,
designing traffic or transportation networks inspired by the behavior of the Physarum
Polycephal (slime mold) [124,125].
Analogy of similar contexts and scales can help to better transfer knowledge from
sources (biology) and targets (architectural design). Moreover, the architects should under-
stand well their design problem-solving situations and other architectural relevant contexts
(design brief); thus, he can select the most appropriate natural strategies and transfer the
principles according to the criteria and requirements of each project particularities.
5. Discussion and Outlook of the Field

This article presents a bioinspiration framework in architecture, from past bioarchi-
tectural movements until the state of development of the recent approach ‘biomimicry’,
showing its potential for innovation along with sustainable awareness. Until the present,
biomimicry methodology has been mostly known in academic and research groups. There
is still a blur between biomovements and biomimicry, creating confusion among practice
architects and students. Most bioarchitectural movements are often inspired by natural
forms resulting from merely the direct representation of plants or animals for symbolic or
aesthetic aspects. The organic and sinuous forms of flora and fauna inspired artists, archi-
tects and designers during the Art Nouveau period. They also influenced the expressive
structures of biomorphic and bionic forms created by digital tools by transforming complex
geometries and processes to architectural design. Instead, biomimicry was an alternative
approach during the peak period of sustainability to propose a new way of designing or
solving problem more innovatively and sustainably by observing at nature in a scientific
manner.
The paper examines main architectural movements within bioinspiration; with bio-
prefix terms, the definition and development along with examples of existing case studies.
Herein, the author identifies the turn from ‘bioinspiration’ to ‘biomimicry’. The author also
presents exclusively a biomimicry theoretical framework and methodology to implement
particularly in the architectural domain. Despite the nature of biomimetic design, the
method should involve multidisciplinary collaboration but this cross-disciplinary activity
is still challenging among architectural practices. The multidisciplinary nature of the
biomimetic design method, the time required for the identification phase of a natural
phenomenon that can be transferred to architecture and the difficulties in translating
this phenomenon into architectural design contexts make a biomimetic design activity
time-consuming. This is the reason why most biomimetic design activities are conducted
mostly as part of research, academic, experimentation, preliminary prototypes [126] or
demonstrating in the form of pavilions [127] rather than real-world construction.
Based on the biomimicry framework, the author has chosen the most pertinent case
studies in real world construction to demonstrate how architects are inspired by natural
strategies, beyond only a formal representation, to solve their design-problems innovatively
and sustainably. The case studies are categorized into three main levels of biomimicry.
From the study of each case studies and private interviews with the architects, the author
discussed that architects captured strategies from nature to suit best the particularities of
each architectural project. Architects study and understand at a good but not a profound
level of how a specific biological strategy works so that they can interpret the strategy
to solve the design problem. There is no use (yet) of multi biological strategies for a
design problem, which can be more interesting. Architects find it difficult to have access
to profound biological knowledge and to associate several bio-strategies for the design.
Moreover, as seen in the Esplanade theatre and NBF Osaki cases, the local culture and
tradition also take part in the selective choices of biological role models (Durian as the
Asian King Fruit, and the Japanese sprinkling of water tradition Uchimizu).
Biomimicry is also considered as a sustainability-driven design method based on
observing nature. According to the three pillars of sustainable development—economic,
social and environmental—the case studies demonstrate the use of the biomimicry approach
to design various innovative building and urban systems; to reduce energy consumption in
buildings (Esplanade theatre, Pho’liage, BIOSKIN); to optimize structural and material use
for high-rise building (Swiss Re)- and to develop a new model of a self-sustainable villages
which can produce its own food, energy, water and recycle its own waste (Regen).
The support for a better biomimetic approach is to incorporate biologists into ar-
chitectural design practice, and to provide an outlook and provocation to encourage
collaboration among scientists and designers, with the aim of achieving a truly interdisci-
plinary biomimetic team. This question was also raised in other domains [128] but it still
needs more time to establish more effectively this type of interdisciplinary team. Notably,
architecture incorporates more than just buildings, there are multi-layers of design phases
in an architectural project, adding biological/scientific knowledge into the design practice,
including how well architects perceive biological knowledge and transfer it into a specific
design context are still challenging.
However, biomimicry, as we have defined it, is a practice yet to be achieved but we
have seen the opportunities presented in a few case studies, as well as areas of opportunity
for further research. Biomimicry, as a practice, can provide a means to cross disciplines
and take advantage of blending scientific knowledge into design practices to solve today’s
human problems towards environmental challenges. A new discipline ‘biomimetic archi-
tecture’ could form, though the parameters of such a collaboration depend on those willing
enough to cross disciplines in this manner.
Funding: This research received no external funding.

Acknowledgments: The author would like to thank the colleagues at MAP-MAACC laboratory:
François Guéna, Nazila Hannachi-Belkadi and Louis Vitalis, who have given fruitful advice and
support on many important aspects of the bioinspiration framework in architectural design.
Conflicts of Interest: The author declares no conflict of interest.
References
1. Montamat, B. Jules Lavirotte (1864–1929) or the Symbolist Art Nouveau. Les Cah. Rech. Archit. Urbaine PaysagÈRe 2021, 32.
[CrossRef]
2. In 19th Century, Eugène Viollet-le-Duc Used ‘the Owl’ as His Symbolism of Medieval Architecture Representing Wider and
Deeper Version (as He Captured the Notion That the Owl Can See in the Dark). We Can See the Owl Hidden in the Top Corner of
a Column in the Churches and Other Buildings. Available online: https://medievico.wordpress.com/2018/11/28/la-chouette/
(accessed on 30 August 2022).
3. In 17th Century, Architect Antoine Le Pautre Was Asked to Build l’hôtel De Beauvais for Pierre De Beauvais and Catherine
Bellier, M. De Beauvais Asked the Architect to Use ‘Lion’ as a Symbol to Represent His Strength and at the Same Time Use
‘Ram’ to Represent His Wife (by Her Family Name) with ‘Bellier’ (Ram). The Animals Were Used as Part of the Architectural
Decorations to Symbolically and Powerfully Represent Le Maître and La Maîtresse of the House. Available online: https:
//www.unjourdeplusaparis.com/paris-insolite/hotel-de-beauvais (accessed on 30 August 2022).
4. Syafrony, A.I.A. Comparison of the Significances of Garuda in Society, Arts and Architecture in Two South-East Asian Countries:
Indonesia and Thailand. J. Community Dev. Res. Humanit. Soc. Sci. 2016, 9, 46–60. Available online: https://www.journal.nu.ac.
th/JCDR/article/view/1286 (accessed on 30 August 2022).
5. Evan, E.P. Animal Symbolism in Ecclesiastical Architecture; London, W., Ed.; Heinemann: Portsmouth, NH, USA, 1896.
6. Verma, A.; Gupta, I. The Journey of Elephant as a Decorative Element in Saharanpur Woodcraft: A Cultural Investigation.
Bharatiya Prajna Interdiscip. J. Indian Stud. 2016, 1, 2.
7. National Fisheries Development Board, Located Near Hyderabad, India. Available online: https://www.designingbuildings.co.
uk/wiki/Fish_Building,_India (accessed on 21 August 2022).
8. Corrugated Creations, Tirau, New Zealand. Available online: https://weburbanist.com/2012/12/30/in-the-doghouse-again-13

-odd-animal-shaped-buildings/2/ (accessed on 12 July 2022).
9. Feng Shui for Fertility. Available online: https://fengshuitricks.com/feng-shui-for-fertility/ (accessed on 12 July 2022).
10. Recent Papers. Biomimetics Journal MDPI. Available online: https://www.mdpi.com/books/book/6267 (accessed on 3 January
2023).
11. Recent Papers; Bioinspiration & Biomimetics; IOP Science: London, UK, 2022; Available online: https://iopscience.iop.org/journal/
1748-3190 (accessed on 28 July 2022).
12. Fratzl, P. Nature’s hierarchical materials. Prog. Mater. Sci. Sci. Direct 2007, 52, 1263–1334. [CrossRef]
13. Jalil, W.D.; Kahachi, H. The implementation of nano-biomimicry for sustainable in architecture. J. Eng. Sustain. Dev. 2019, 23,
25–41. [CrossRef]
14. Gruber, P. Biomimetics in Architecture: Architecture of Life and Buildings; Springer: Wien, Vienna, 2011.
15. Chayaamor-Heil, N.; Guéna, F.; Hannachi, N. Biomimétisme en architecture. État, méthodes et outils. Les Cah. De La Rech. Archit.
Urbaine Et PaysagÈRe 2018, 1. [CrossRef]
16. Badarnah, L. Towards the Living Envelope Biomimetics for Building Envelope Adaptation. Ph.D. Thesis, Delft University, Delft,
The Netherlands, 2012.
17. Chayaamor-Heil, N. The Impact of Nature Inspired Algorithms on Biomimetic Approach in Architectural and Urban Design,
Living Machines 2018: Biomimetic and Biohybrid Systems. In Lecture Notes in Computer Science; Springer: Berlin/Heidelberg,
Germany, 2007; pp. 97–109. [CrossRef]
18. Feuerstein, G. Biomorphic Architecture-Human and Animal Forms in Architecture; Edition Axel Menges: Stuttgart, Germany, 2002.
19. Aldersey-Williams, H. Zoomorphic-New Animal Architecture; Laurence King Publishing: London, UK, 2003.
20. Agakathidis, A. Biomorphic Structures; Laurence King Publishing: London, UK, 2017.
21. Kurokawa, K. Metabolism in Architecture, 1st ed.; Littlehampton Book Services Ltd.: London, UK, 1977.
22. Koolhaas, R.; Obrist, U.L. Project Japan: Metabolism Talks; Taschen: Cologne, Germany, 2011.
23. Cervera, M.R.; Pioz, J. Bionic Architecture: Learning from Nature; Architect Publications: Barcelona, Spain, 2015.
24. Brayer, M.-A.; Migayrou, F.; Varenne, F.; Zakhama, G.L.N.; Oxman, R.; Lesne, A.; Harman, G.; Malafouris, L. Naturaliser
L’architecturei; Archilab; Editions HYX: Orléans, France, 2013.
25. Bird, L.; LaBelle, G. Re-Animating Greg Lynn’s Embryological House: A Case Study in Digital Design Preservation. LEONARDO
2010, 43, 243–249. [CrossRef]
26. Andrasek, A. Biothing; Editions HYX: Orléans, France, 2001.
27. Fornes, M. Theverymany; HYX: Orléans, France, 2010.
28. Widera, B. Bioclimatic Architecture. J. Civil Eng. Architect. Res. 2015, 2, 567–578.
29. Ávalos, J.; Villarreal, R.; Cárdenas, V.; Romero, A.C.G.L. Bioclimatic Architecture, SHS Web of Conferences. In Proceedings of the
3rd ETLTC International Conference on Information and Communications Technology (ETLTC2021), Aizuwakamatsu, Japan,
27–30 January 2021; EDP Sciences: Paris, France, 2021. [CrossRef]
30. Stankovic, D.; Cvetanovic, A.; Rancic, A.; Nikolic, V.; Stankovic, B. Biophilia in modern architectural practice: Recommendations
for Serbia. Facta Univ.-Ser. Archit. Civ. Eng. 2019, 17, 133–143. [CrossRef]
31. Gunderson, R. Erich Fromm’s Ecological Messianism: The First Biophilia Hypothesis as Humanistic Social Theory. AHS 2014, 38,
182–204. [CrossRef]
32. Beatley, T. Biophilic Architecture and Design. In Handbook of Biophilic City Planning and Design; Island Press: Washington, DC,
USA, 2016. [CrossRef]
33. Tan, S.Y. From Biophilic Architecture to Biophilic Cities. In Dense and Green Building Typologies. SpringerBriefs in Architectural
Design and Technology; Springer: Singapore, 2019. [CrossRef]
34. Barbiero, G.; Berto, R. Biophilia as Evolutionary Adaptation: An Onto- and Phylogenetic Framework for Biophilic Design. Front.
Psychol. 2021, 12, 700709. [CrossRef] [PubMed]
35. Ripley, R.L.; Bhushan, B. Bioarchitecture: Bioinspired art and architecture—A perspective. R. Soc. 2016, 374, 20160192. [CrossRef]
[PubMed]
36. Harkness, J. In Appreciation: A Lifetime of Connections: Otto Herbert Schmitt, 1913–1998. Phys. Perspect. 2002, 4, 456–490.
[CrossRef]
37. Nachtigall, W.; Pohl, G. Bau-Bionik: Natur-Analogien–Technik; Springer: Berlin/Heidelberg, Germany, 2012.
38. Pohl, G.; Nachtigall, W. Biomimetics for Architecture & Design: Nature-Analogies–Technology; Springer: Berlin/Heidelberg, Germany, 2015.
39. Benyus, J. Biomimicry: Innovation Inspired by Nature; Harper Collins Publishers: New York, NY, USA, 1997.
40. Mick Peace. Available online: https://www.mickpearce.com/ (accessed on 31 August 2022).
41. Turner, J.S.; Soar, R.C. Beyond biomimicry: What termites can tell us about realizing the living building. In Proceedings of the
First International Conference on Industrialized, Intelligent Construction (I3CON) Loughborough University, Loughborough,
UK, 14–16 May 2008.
42. Lenau, T.A. Biomimetic as a design methodology-possibilities and challenges. In Proceedings of the International conference on
engineering design ICED Stanford University, Stanford, CA, USA, 24–27 August 2009.
43. Vicent, J.F.V. Biomimetics: Its practice and theory. J. R. Soc. 2006, 3, 471–482. [CrossRef]
44. Vincent, J.F.V. Biomimetics—A review. Proc. Inst. Mech. Eng. Part H J. Eng. Med. 2009, 223, 919–939. [CrossRef]
45. Vattam, S.S.; Wiltgen, B.; Helms, M.E.; Goel, A.K.; Yen, J. DANE: Fostering Creativity in and through Biologically Inspired Design.
In Design Creativity 2010; Springer: London, UK, 2011; pp. 115–122.
46. Bar-Cohen, Y. Biomimetics: Nature-Based Innovation, 1st ed.; Taylor & Francis Group: New York, NY, USA, 2011.
47. Technical Committee: ISO/TC 266 Biomimetics ISO/TC266 18458:2015: Biomimetics–Terminology, Concepts and Methodology;
ISO: Geneva, Switzerland. 2015. Available online: https://www.iso.org/standard/62500.html (accessed on 1 September 2022).
48. Fayemi, P.E.; Wanieck, K.; Zollfrank, C.; Maranzana, N.; Aoussat, A. Biomimetics: Process, tools and practice. Bioinspir. Biomim.
2017, 12, 11002. [CrossRef]
49. Ilieva, L.; Ursano, I.; Traista, L.; Hoffmann, B.; Dahy, H. Biomimicry as a Sustainable Design Methodology—Introducing the
‘Biomimicry for Sustainability’ Framework. Biomimetics 2022, 7, 37. [CrossRef]
50. Hayes, S.; Desha, C.; Baumeister, D. Learning from nature—Biomimicry innovation to support infrastructure sustainability and
resilience. Technol. Forecast. Soc. Change 2020, 161, 120287. [CrossRef]
51. Eggermont, M.; Shyam, V.; Hepp, A. Biomimicry for Materials, Design and Habitats-Innovations and Applications; Elsevier: Amsterdam,
The Netherlands, 2022.
52. Zari, M.P. Regenerative Urban Design and Ecosystem Biomimicry; Routledge: London, UK, 2019.
53. Blanco, E. Producing Benefits for Nature and Society: An Urban Design Framework Based on Ecosystem-Level Biomimicry
and Regenerative Design, Doctoral thesis, National Museum of Natural History Paris, France, Defended 21/10/2022. Available
online: https://hal.science/tel-03895111 (accessed on 9 January 2023).
54. Lepora, N.F.; Verschure, P.; Prescott, T.J. The state of the art in biomimetics. Bioinspir. Biomim. 2013, 8, 013001. [CrossRef]
55. Singh, R.A.; Yoon, E.S.; Jackson, R.L. Biomimetics: The science of imitation nature. Tribol. Lubr. Technol. 2009, 65, 40.
56. Jović, B.S.; Mitić, A.D. Exploration of nature-based biomimetic approach in landscape architectural design: Parametric study of
candelabra model design. Vis. Comput. Ind. Biomed. Art 2020, 3, 25. [CrossRef]
57. Mazzoleni, I. Architecture Follows Nature: Biomimetic Principles for Innovative Design; CRC Press: Boca Raton, FL, USA, 2013.
58. Antonioli, M. Biomimétisme: Science, Design Et Architecture; Loco: Paris, France, 2017.
59. Chayaamor-Heil, N.; Montas, N. Biomimetic Building Skin: Living Envelope for Contemporary Architecture. In Book, the Power of
Skin: New Materiality in Contemporary Architectural Design; AKRIT Architecture Research Group: Madrid, Spain, 2018; Available
online: https://hal.archives-ouvertes.fr/hal-02890834/ (accessed on 31 August 2022).
60. Kuru, A.; Oldfield, P.; Bonser, S.; Fiorito, F. Biomimetic adaptive building skins: Energy and environmental regulation in buildings.
Energy Build. 2019, 205, 109544. [CrossRef]
61. Cruz, E. 2021 Multi-criteria Characterization of Biological Interfaces: Towards Multi-functional Biomimetic Building Envelopes.
Doctoral Thesis, National museum of natural history of Paris, Paris, France, 4 February 2021.
62. Cohen, Y.H.; Reich, Y. Biomimetic Design Method for Innovation and Sustainability; Springer International Publishing: Cham,
Switzerland, 2016. [CrossRef]
63. Hubert, T.; Dugué, A.; Vogt Wu, T.; Bruneau, D.; Aujard, F. Exploiting the Potential of Nature for Sustainable Building Designs: A
Novel Bioinspired Framework Based on a Characterization of Living Envelopes. In Bionics and Sustainable Design; Palombini, F.L.,
Muthu, S.S., Eds.; Environmental Footprints and Eco-Design of Products and Processes; Springer: Singapore, 2022. [CrossRef]
64. Gosztonyi, S. Physiomimetic Façade Design: Systematics for a function-oriented transfer of biological principles to thermally-
adaptive façade design concepts. A+BE|Archit. Built Environ. 2022, 4, 1–404. [CrossRef]
65. Pawlyn, M. Biomimicry in Architecture, 1st ed.; RIBA Publishing: London, UK, 2011.
66. Pawlyn, M. Biomimicry in Architecture, 2nd ed.; RIBA publishing: London, UK, 2016.
67. Goel, A.K.; Vattam, S.; Wiltgen, B.; Helms, M. Information-processing theories of biologically inspired design. In Biologically
Inspired Design; Springer: Berlin, Germany, 2014; pp. 127–152.
68. Nagel, J.K.S. A Thesaurus for Bioinspired Engineering Design. In Biologically Inspired Design; Goel, A.K., McAdams, D.A., Stone,
R.B., Eds.; Springer: London, UK, 2014.
69. Chiu, I.; Shu, L.H. Biomimetic design through natural language analysis to facilitate cross-domain information retrieval. In Al
Edam; Cambridge University Press: Cambridge, UK, 2007; Volume 21, pp. 45–59.
70. Badarnah, L.; Kadri, U. A methodology for the generation of biomimetic design concepts. Archit. Sci. Rev. 2015, 58, 120–133.
[CrossRef]
71. Graeff, E.; Maranzana, N.; Aoussat, A. Biological Practices and Fields, Missing Pieces of the Biomimetics’ Methodological Puzzle.
Biomimetics 2020, 5, 62. [CrossRef]
72. Fayemi, P.; Chekchak, T.; Bersano, G.; Maranzana, N.; Aoussat, A. Biomimétisme et Supports Méthodologiques; Techniques de
l’Ingénieur: Saint-Denis, France, 2015.
73. Fayemi, P.; Maranzana, N.; Bersano, G. Assessment of the Biomimetic Toolset—Design Spiral Methodology Analysis, Assessment of the
Biomimetic Toolset—Design Spiral Methodology Analysis; Springer: New Delhi, India, 2015; pp. 27–38.
74. Speck, T.; Speck, O. Process sequences in biomimetic research. In WIT Transactions on Ecology and the Environment; WIT Press:
Southampton, UK, 2008; Volume 114.
75. Helms, M.; Vattam, S.S.; Goel, A.K. Biologically inspired design: Process and products. Des. Stud. 2009, 30, 606–622. [CrossRef]
76. Zari, M.P. Biomimetic Approaches to Architectural Design for Increased Sustainability. In Proceedings of the Sustainable Building
Conference, Auckland, New Zealand, 14–16 November 2007.
77. Lopez, M. How plants inspire façades. From plants to architecture: Biomimetic principles for the development of adaptive
architectural envelopes. Renew. Sustain. Energy Rev. 2017, 67, 692–703. [CrossRef]
78. Badarnah, L. Environmental Adaptation of Buildings through Morphological Differentiation; Advanced Building Skins: Bern, Switzer-
land, 2018.
79. Heil, N.; (MAP MAACC CNRS/ENSAPLV, Paris, France); Wilford, M.; (DP architecture, London, England). Private interview of the
case study: Esplanade Theatre inspired by Durian. Reseach project BiomimArchD 2019–2021 funded by MITI CNRS, France. 2019.
80. San Ha, N.; Lu, G.; Shu, D.; Yu, T.X. Mechanical properties and energy absorption characteristics of tropical fruit durian (Durio
zibethinus). J. Mech. Behav. Biomed. Mater. 2019, 104, 103603.
81. Subhadrabandhu, S.; Ketsa, S. Durian: King of Tropical Fruit; CABI Publishing: Oxfordshire, UK, 2001.
82. Aizenberg, J.; Weaver, J.C.; Thanawala, M.S.; Sundar, V.C.; Morse, D.E.; Fratzl, P. Skeleton of Euplectella sp.: Structural Hierarchy
from the Nanoscale to the Macroscale. Science 2005, 309, 275–278. [CrossRef]
83. Woesz, A.; Weaver, J.C.; Kazanci, M.; Dauphin, Y.; Aizenberg, J.; Morse, D.E.; Fratzl, P. Micromechanical properties of biological
silica in skeletons of deep-sea sponges. J. Mater. Res. 2006, 21, 2068–2078. [CrossRef]
84. Heil, N.; (MAP MAACC CNRS/ENSAPLV, Paris, France); non specific author; (Norman Forster & Partners Architecture, London,
England). Private interview of the case study: Swiss Re inspired by Venus’flower basket. Reseach project BiomimArchD 2019–2021
funded by MITI CNRS, France.
85. Cortizo, M.; Laufs, P. Genetic basis of the “sleeping leaves” revealed. Proc. Natl. Acad. Sci. USA 2012, 109, 1474–11475. [CrossRef]
[PubMed]
86. ArtBuild: Pho’liage. Available online: https://www.artbuild.com/lab/pholiage (accessed on 5 May 2022).
87. Charpentier, L.; Cruz, E.; Nenov, T.; Guidoux, K.; Ware, S. Pho’liage: Towards a Kinetic Biomimetic Thermoregulating Façade.
In Bionics and Sustainable Design; Palombini, F.L., Muthu, S.S., Eds.; Environmental Footprints and Eco-Design of Products and
Processes; Springer: Singapore, 2022. [CrossRef]
88. ArtBuild. Available online: https://www.artbuild.com/work (accessed on 5 May 2022).
89. Solcerova, A.; Van Emmerik, T.; Hilgersom, K.; Van de Ven, F.; Van de Giesen, N. Uchimizu: A Cool(ing) Tradition to Locally
Decrease Air Temperature. Water 2018, 10, 741. [CrossRef]
90. Baker, L.B. Physiology of sweat gland function: The roles of sweating and sweat composition in human health. Temperature 2019,
6, 211–259. [CrossRef] [PubMed]
91. Di Salvo, S. Façade Solar Control and Shading Strategies for Buildings in the Mediterranean Region. Int. J. Environ. Sci. Sustain.
Dev. 2020, 5, 32. [CrossRef]
92. Skolkovo–District 11, Bechu & Associés. Available online: https://www.bechuetassocies.com/en/projet/skolkovo-innovation-
center-district-11 (accessed on 2 September 2022).
93. Ancel, A.; Gilbert, C.; Poulin, N.; Beaulieu, M.; Thierry, B. New insights into the huddling patterns of emperor penguins. Anim.
Behav. 2015, 110, 91–98. [CrossRef]
94. Waters, A.; Blanchette, F. Modeling Huddling Penguins. PLoS ONE 2012, 7, e50277. [CrossRef]
95. Zitterbart, D.P.; Wienecke, B.; Butler, J.P.; Fabry, B. Coordinated movements prevent jamming in an emperor penguin huddle.
PLoS ONE 2011, 6, e20260. [CrossRef]
96. Biomimexpo 2017, Bechu Architectes, Pablo Lorenzino Talk. Available online: https://www.youtube.com/watch?v=2FUc28E0
_BU (accessed on 18 January 2023).
97. Ronde Des Manchots Empereurs Et Constructions. Available online: https://www.dailymotion.com/video/x6gl85r (accessed on
18 January 2023).
98. Ecology (Wikipedia). Available online: https://en.wikipedia.org/wiki/Ecology (accessed on 2 September 2022).
99. Delmas, E.; Besson, M.; Brice, M.H.; Burkle, L.A.; Dalla Riva, G.V.; Fortin, M.J.; Gravel, D.; Guimarães, P.R., Jr.; Hembry, D.H.;
Newman, E.A.; et al. Analyzing ecological networks of species interactions. Biol. Rev. 2019, 94, 16–36. [CrossRef]
100. The Sahara Desert Project, Exploration Architecture. Available online: http://www.exploration-architecture.com/projects/
sahara-forest-project (accessed on 2 September 2022).
101. Drake, C. Biomimicry: Emulating the Closed-Loops Systems of the Oak Tree for Sustainable Architecture. Master’s Thesis,
University of Massachusetts Amherst, Amherst, MA, USA, February 2014. Available online: https://scholarworks.umass.edu/
theses/602 (accessed on 4 January 2023).
102. Regenvillages. Available online: https://www.regenvillages.com/ (accessed on 3 September 2022).
103. EFFEKT, Regen Villages. Available online: https://www.effekt.dk/regenvillages (accessed on 3 September 2022).
104. Wanieck, K.; Fayemi, P.-E.; Maranzana, N.; Zollfrank, C.; Jacobs, S.R. Biomimetics and its tools. Bioinspir. Biomim. Nanobiomater.
2017, 6, 53–66. [CrossRef]
105. Biomimicry Institute AskNature—Innovation Inspired by Nature. Available online: https://asknature.org/ (accessed on 23
August 2022).
106. Deldin, J.-M.; Schuknecht, M. The AskNature Database: Enabling Solutions in Biomimetic Design. In Biologically Inspired Design;
Springer: London, UK, 2014; pp. 17–27. ISBN 978-1-4471-5248-4.
107. Hooker, G.; Smith, E. AskNature and the Biomimicry Taxonomy. Insight 2016, 19, 46–49. [CrossRef]
108. Nagel, J.K.S.; Nagal, R.L.; Stone, R.B.; McAdams, D.A. Function-based, biologically inspired concept generation. In AL EDAM;
Cambridge University Press: Cambridge, UK, 2010; Volume 24, pp. 521–535.
109. Chakrabarti, A.; Sarkar, P.; Leelavathamma, B.; Nataraju, B.S. A functional representation for aiding biomimetic and artificial
inspiration of new ideas. In Artificial Intelligence for Engineering Design, Analysis and Manufacturing, USA; Cambridge University
Press: Cambridge, UK, 2005; Volume 19, pp. 113–132.
110. Glier, M.W.; Tsenn, J.; Linsey, J.S.; McAdams, D.A. A methodology for supporting transfer in biomimetic design. In Artificial
Intelligence for Engineering Design Analysis and Manufacturing; Cambridge University Press: Cambridge, UK, 2010; Volume 24,
pp. 483–506.
111. Glier, M.W.; Tsenn, J.; Linsey, J.S.; McAdams, D.A. Methods for supporting bio-inspired design. ASME Conf. Proc. 2011, 54884,
737–744. [CrossRef]
112. Bogatyrev, N.; Bogatyreva, O. BioTRIZ: A Win-Win Methodology for Eco-innovation. Environ. Sci. 2014, 3, 297–314. [CrossRef]
113. Chayaamor-Heil, N.; Vitalis, L. Biology and architecture: An ongoing hybridization of scientific knowledge and design practice
by six architectural offices in France. Front. Archit. Res. 2021, 10, 240–262. [CrossRef]
114. Perricone, V.; Santulli, C.; Rendina, F.; Langella, C. Organismal Design and Biomimetics: A Problem of Scale. Biomimetics 2021, 6, 56.
[CrossRef]
115. Bechthold, M.; Weaver, J.C. Materials science and architecture. Nat. Rev. Mater. 2017, 2, 1–19. [CrossRef]
116. Wang, Y.; Naleway, S.E.; Wang, B. Biological and bioinspired materials: Structure leading to functional and mechanical perfor-
mance. Bioact. Mater. Sci. Direct 2020, 5, 745–757. [CrossRef]
117. Krieg, O.D. Biomimetic Lightweight Timber Plate Shells: Computational Integration of Robotic Fabrication, Architectural
Geometry and Structural Design. In Advances in Architectural Geometry; Block, P., Knippers, J., Niloy, J.M., Wang, W., Eds.;
Springer: Berlin/Heidelberg, Germany, 2014.
118. Srisuwan, T. Review Article: Biomimetic in Lightweight Structures: Solution for Sustainable Design. Built 2019, 14, 7–16.
[CrossRef]
119. Chayaamor-Heil, N.; Hannachi-Belkadi, N. Towards a Platform of Investigative Tools for Biomimicry as a New Approach for
Energy-Efficient Building Design. Build. J. 2017, 7, 19. [CrossRef]
120. Xing, Y.; Jones, P.; Bosch, M.; Donnison, I.; Spear, M.; Ormondroyd, G. Exploring design principles of biological and living
building envelopes: What can we learn from plant cell walls? In Intelligent Buildings International; Taylor & Francis: London, UK,
2018; Volume 10.
121. Cruz, E.; Hubert, T.; Chancoco, G.; Naim, O.; Chayaamor-Heil, N.; Cornette, R.; Menezo, C.; Badarnah, L.; Raskin, K.; Aujard, F.
Design processes and multi-regulation of biomimetic building skins: A comparative analysis. Energy Build. 2021, 246, 111034.
[CrossRef]
122. Blanco, E.; Pedersen Zari, M.; Raskin, K.; Clergeau, P. Urban Ecosystem-Level Biomimicry and Regenerative Design: Linking
Ecosystem Functioning and Urban Built Environments. Sustainability 2021, 13, 404. [CrossRef]
123. Blanco, E.; Cruz, E.; Lequette, C.; Raskin, K.; Clergeau, P. Biomimicry in French Urban Projects: Trends and Perspectives from the
Practice. Biomimetics 2021, 6, 27. [CrossRef] [PubMed]
124. Tero, A.; Kobayashi, R.; Nakagaki, T. Physarum Solver: A Biologically Inspired Method of Road-Network Navigation; Elsevier Science:
Amsterdam, The Netherlands, 2005.
125. Tero, A.; Takagi, S.; Saigusa, T.; Ito, K.; Bebber, D.P.; Fricker, M.D.; Yumiki, K.; Kobayashi, R.; Nakagaki, T. Rules for Biologically
Inspired Adaptative Network Design. Sciences 2010, 327, 439. [CrossRef]
126. Knippers, J.; Nickel, K.G.; Speck, T. Biomimetic Research for Architecture and Building Construction: Biological Design and Integrative
Structures; Springer International Publishing: Kiel, Germany, 2016; ISBN 978-3-319-46372-8.
127. Knippers, J. Biomimetics for Architecture: Learning from Nature; Birkhäuser: Berlin, Germany; Boston, MA, USA, 2019. [CrossRef]
128. Graeff, E.; Maranzana, N.; Aoussat, A. Biomimetics, where are the biologists? J. Eng. Des. 2019, 30, 289–310. [CrossRef]
Disclaimer/Publisher’s Note: The statements, opinions and data contained in all publications are solely those of the individual
author(s) and contributor(s) and not of MDPI and/or the editor(s). MDPI and/or the editor(s) disclaim responsibility for any injury to
people or property resulting from any ideas, methods, instructions or products referred to in the content.
Reproduced with permission of copyright owner. Further reproduction
prohibited without permission.

From Bioinspiration To Biomimi

Uploaded by

Copyright:

Available Formats

From Bioinspiration To Biomimi

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

From Bioinspiration To Biomimi

Uploaded by

Copyright:

Available Formats

Entry

From Bioinspiration to Biomimicry in Architecture:

Keywords: architecture; biology; bioinspiration; biomimetics; biomimicry; interdisciplinarity; analogical

Encyclopedia 2023, 3, 202–223. https://doi.org/10.3390/encyclopedia3010014 https://www.mdpi.com/journal/encyclopedia

2. Bio Prefix in Architecture

The Origin of Biomimetics and Biomimicry

3. Biomimetic Design Methodologies and Tools

3.1. Process Sequences in Biomimetic Design

Specific Problem Biological Identify Abstraction Implementation

Biological Define biological Principles Problem Abstraction Implementation

The Levels of Biomimicry

3.2.1. Organism Level

3.2.1. Organism Level

In response to3.2.2. Behavior

Encyclopedia 2023, 3 211

Encyclopedia 2023, 3 215

Open-close Ecosystem Process, Construction,

4. Biological Analogy and Architectural Design

Research Abstraction Implementation

Identification of the nature’s strategy Interpretation of the nature’s strategy

Analogy between nature and architecture

5. Discussion and Outlook of the Field

Funding: This research received no external funding.

8. Corrugated Creations, Tirau, New Zealand. Available online: https://weburbanist.com/2012/12/30/in-the-doghouse-again-13

You might also like

Pfad - The Proxy pFad of © 2024 Garber Painting. All rights reserved.