A guest post by Rebecca Mallinson
Biomimicry is the manufacturing of materials that imitate the phenomena of life’s natural processes. From 2014, biomimicry was introduced as a design methodology within the UK Design & Technology curriculum with the aspiration to align the subject more greatly with design outside education.
As an anthropology researcher at the crosshairs of Material & Visual Culture, Sustainability and Education, my interest lies in how this directive is technically interpreted and taught for Key Stage 3 students. How is such a complex subject understood, embraced and employed to create artefacts where ‘thought is made concrete in design’? In abstracting nature’s properties, are we teaching a re-assertion of our own power over it, or fostering an apotropaic (harm-averting) closeness with our increasingly vulnerable environment? Is there an immateriality – a spiritual rather than physical quality – to embedding biomimicry within a design curriculum?
I would love to be able to explore this for my masters dissertation at UCL but to do so, I need to find D&T teachers willing to be interviewed. This could be via email/Skype/phone or in person depending on your location.
Anyone is welcome to contribute their perspective whether they have:
- Embraced this element of the curriculum and found innovative ways to articulate it?
- Examples to share of how students have employed biomimicry within their artwork from the most mundane to the most spectacular?
- Experienced creative, strange, fascinated or confused responses from students?
- Felt skeptical about its inclusion within the curriculum entirely?
If you would like to know more and/or participate, please email Rebecca at firstname.lastname@example.org before Friday 28th April.
Working with the Creative Directors at London College of Fashion, Rebecca has coordinated industry projects with Microsoft, United Nations, SHOWstudio and Cass Art alongside the design/organisation of catwalk and exhibitions. Her previous experience encompasses Research & Policy at the Crafts Council plus supporting researchers at Centre for Sustainable Fashion and Textile Futures Research Centre which each stimulated her interest in the potentials of design embracing natural technologies.