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Life Science Journal 2014;11(6) http://www.lifesciencesite.com
140
What approach can we develop to improve creativity in design?
Abeer A Alawad, HND, BA(hons), MA, PhD
Department of Housing, track of Interior Design and Furniture, Faculty of Home Economics,
King Abdulaziz University.
aalawad@kau.edu.sa
Abstract: Visual inspiration is a relatively well-understood and effective approach to sharing and developing
creativity. This research project is concerned with how designers can draw inspiration from nature and how nature
can affect and help develop creativity and make conceptual design decisions. In particular, the premise of this
research project developed from experience and understanding of teaching undergraduate interior design students.
The researcher wanted to explore new and innovative approaches to develop and share creativity. The research
methods used involved an independent measures design consisting of thirty, year one, undergraduate interior design
students. This group of students was presented with a lecture on the specific topic of inspiration transmitted through
the study of nature. Subsequently, all students who attended the lecture were then asked to complete a questionnaire
regarding their understanding of the importance of this area of study and whether learning more about this topic
would help their own creativity and design decisions. The findings revealed that the majority of students found that
this lecture fascinated them; helped to broaden their thinking and impacted their creative design and processes. The
students also stated their desire to see this topic included on the undergraduate specification as a core module of
teaching. Practical recommendations from this research include the need to establish and impart a core teaching
module that focuses on inspiration transmitted through nature; as the findings revealed that students were interested
in this topic as an aid to the development of their designs. Furthermore, it is clear that the study of nature can be a
source of inspiration for the whole generation and perhaps it should even be introduced into the curriculum at an
earlier age possibly during elementary school. A meditation and awareness of nature can be a source of perpetual
creative inspiration, which can benefit society as a whole. It is hoped that this approach could be widely applied in
classroom practice and stimulate improvements in pedagogical practices.
[Abeer A Alawad. What approach can we develop to improve creativity in design? Life Sci J 2014;11(6):140-
146]. (ISSN:1097-8135). http://www.lifesciencesite.com. 20
Key words: Biomimicry, Interior Design, Visual Inspiration, Creativity.
1.Introduction :
The natural world is innovative, synchronised and
organised. Nature has been a source of inspiration for
human beings throughout the history of the world.
Since early days, humans have absorbed and
discovered things from the natural world and used
nature’s organization/structures as a source of
inspiration (Vahedi, 2009). Nature can teach mankind
about various systems, materials, structures and
designs. The emergence of biomimicry has recognized:
‘innovation and inspiration from nature’ and the need
to look ‘to nature as a teacher’ (Benyus, 1997). Indeed,
more designers and architects have realized and
harnessed the power of nature to inspire. Korecki
maintains that nature is continually developing and
evolving. According to Korecki the natural world is
flexible and dynamic (p54): “Whether one attributes
the creation of the natural world to design or
phenomena, it is undeniable that it is the ultimate
picture of systemic beauty and is the standard of which
everything else if measured.” Moreover, through this
method nature may provide more sustainable;
ecologically sound and efficient solutions to design
problems possibly even integrating designs to
harmonize with nature.
Furthermore, Bernsen, 2004, explored the
simplicity of nature and this element is one of the
defining factors of design in the natural world.
Everything has a purpose (Bernsen, 2004). The purpose
of this study is to research the importance of inspiration
in teaching as a tool to develop creativity and design.
Mother Nature’s forms and patterns may inspire and
motivate students of interior design with their own
creations and conceptual designs. Could this approach
be applied further in university practice and enable
changes to the curriculum?
Literature review
As stated in the introduction, research has
increasingly focused on the area of biomimicry. A
variety of disciplines and sectors of society have
utilised biomimicry as a tool to aid design. Biomimicry
means “copying nature” and this term ‘Biomimicry’
was first coined in 1985. However, this concept of
finding inspiration from nature is not new. For
example, Leonardo Da Vinci’s own sketchbooks were
evidence for his designs that were found in the natural
world. He advocated the study of nature, as he believed
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that in nature’s inventions nothing is lacking and
everything has a purpose. Today, the scientific
community are referring to nature and drawing
inspiration from it. Many studies and research has been
conducted in this area. Biomimicry enables designers
to find inspiration through looking at nature and
products naturally prevalent in the world.
Benyus (1997) has highlighted particular
principles in her work Biomimicry:Innovation Inspired
by Nature and these are beliefs that govern natural
design and processes such as: Nature as Model; Nature
as Measure and Nature as Mentor. These principles
illustrate that the subject of biomimicry is a science,
which considers the models found within nature and
garners inspiration from them. In addition, Biomimicry
uses a standard (Nature as Measure) to evaluate the
effectiveness of our concepts and designs. Nature has
taught us that designs that work remain in use: they
last. Finally, Nature is seen as a teacher, a mentor that
enables us to view and appreciate nature (Benyus,
1997). Furthermore, Benyus provides a number of
biomimicry design examples that she and Dayna
Baumesiter of the Biomimcry Guild have included on a
database for designers (Biomimicry, 2013). One of
these principles is that form fits function. For example,
nature optimizes instead of maximises. Therefore,
designers should optimise form to best fit the function.
The designers of the Speedo Fatskin swimsuit took
their inspiration from nature as their design mimics a
shark’s skin, which enables it to reduce water drag
hence making the swimmer quicker.
Another researcher examining natural principles
and designs is Kurk. This researcher states that nature
is a teacher: ‘Nature’s solutions are not only optimal in
design, they are always based upon life-sustaining
principles”. (Kurk & McNamara, 2006, p2). Jirapong
and Krawczyk, 2002, also deem nature as a teacher that
has a wealth of knowledge for humans to learn from.
For example, the creative use of material and the
natural forms visible in our world (Jirapong and
Krawczyk, 2002). The growing field of biomimetics
indicates the validity of this area of research. Bio-
inspiration involves looking for inspiration from the
natural world that could potentially offer answers to
technological, industrial or bio-medical problems. The
basic premise is that nature is the best designer and
should be copied. In nature animals, plants and
microbes have been solving problems for years without
human intervention. Designers are now using nature as
a model and mentor. Biomimicry has proved influential
to functional applications. For example, furniture and
lighting design natural factors/elements such as leaves
(Enea Studio and spider webs (Junio Design) and bird’s
nests have proved influential to the aesthetic
characteristics of seating designs and lighting fixtures.
In addition, the interdisciplinary field of bionic, the
science that links biology and technology merges with
architects and designers: “Bionic fits our focus on
methods in integrated design including
interdisciplinary team work” (Stokholm, 2006, p7-13).
Arciszewski and Kicinger proposed three
different levels of inspiration, which are: visual
inspiration; conceptual inspiration and computational
inspiration. (Arciszewski and Kicinger, 2005). All
three of these types of inspiration are essential when
designing and creating a concept. Visual inspiration is
most widely used and this involves a picture of a
particular living organism, which is then used to create
similarly looking designs/systems. Biomimetic design
can be applied to any type of design and for any
purpose. Some designers get their ideas from creation,
some from the structural solutions afforded in nature
and some using materials found in nature. What is clear
is that visual inspiration provides the highest level of
inspiration more than conceptual or computational.
Godfaurd et al.’s., research (2005) considered the role
biomimetics plays in providing designs that are useful
and sustainable. This will enable building engineers
and architects to appreciate the real value and
application of nature in creating and producing
sustainable and efficient buildings. Architects can
judge the response of building materials to their
environment by analyzing the animal world. Godfaurd
et al., provide the example of termites as an innovative
animal architect which enables them to survive in
whichever environment they reside. For example, some
termites build chimneys, others have rain roofs on their
dwellings. These tiny creatures appear to be able to
modify the heat gain and loss though their dwellings
due to the outside temperature.
Stokholm believed that Bionics, which is an
interdisciplinary field mediating between technology
and biology, is ‘no universal tool for solving problems,
but may in the best way be an excellent assisting tool’
(Stokholm, 2006). Looking to nature as a teacher of
design is a fascinating and ecologically valid option.
Within the area of applied Bionics there are numerous
examples of how designers have borrowed inspiration
from nature. For example, the lotus-effect, this natural
phenomenon has been applied in dirt-repelling and
self-cleansing surfaces (Colombo, 2007). This effect
refers to the self-cleaning and high water repellence
shown by the lotus flower leaf. Moreover, this natural
effect has been developed by designers to improve
sensors on traffic control units and coatings, paints and
roof tiles. These and other surfaces can stay dry and
clean themselves in the same way as this lotus leaf.
Therefore, this shows nature as a teacher and mentor to
designers.
Vahedi concluded that nature has the most
optimized organization in terms of form, function,
structure, and material within the context (Vahedi,
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142
2009). Nature provides a solution for interior designers
and architects to hone their design works and optimize
their ideas (Vahedi, 2009). Therefore, this research
seeks to discover whether this knowledge of nature as
inspiration should be imparted to trainee interior
designers/architects. If informed early in their careers
and learning journeys this may significantly affect and
influence their future conceptual designs and creative
ideas.
Lovegove is a designer who garners inspiration
from the simplicity and beauty of nature. His visionary
designs consider the link between technology,
materials and organic form. Lovegove’s work is
believed to be “at the very apex of stimulating a
profound change in the physicality of our three
dimensional world’. He advocates ‘organic
essentialism’ which means he will only use what is
absolutely necessary and he has taken this stance from
observing nature and its logic. Although Lovegove
states that it is not about copying nature instead he is
concerned with the application of nature (Lovegove ,
2013).
This study aims to explore the viability and
achievability of using biomimicry to transmit basic
design ideas to undergraduate students. The purpose of
thus study was to investigate whether originality and
innovation can be taught to interior design students via
a series of lectures on biomimicry.
2. Material and Methods
The research methods used involved an
independent measures design consisting of thirty, year
one, undergraduate interior design students. This group
of students was presented with a lecture on the specific
topic of inspiration transmitted through the study of
nature. Subsequently, all students who attended the
lecture were then asked to complete a questionnaire
regarding their understanding of the importance of this
area of study and whether learning more about this
topic would help their own creativity and design
decisions.
The methodology of this study involved using
self-report techniques, in particular a questionnaire.
The following questions were used in the
questionnaire:
1- Did you hear about inspiration from nature
before today’s lecture?
2- Did you get this subject inspiration in a
different module or just this module?
3- One lecture is enough to fully comprehend
this technique for obtaining inspiration?
4- I would like to have more lectures to fully
understand the technique of inspiration from nature.
5- This inspiration subject/topic relevant to me as
a student of interior design?
6- This inspiration topic is very important in this
stage of university: year one.
7- Inspiration helps me to gain a deeper
understanding of nature.
8- Inspiration helped me to meditate on the
environment.
9- The evaluation of my design becomes higher
after I know inspiration.
10- I like my design after I know the topic.
Questions one and two were closed questions
requiring a yes or no answer from the student.
Whereas, in relation to questions three to ten the
students were provided with a Likert scale and the
students had to rank the statement or question
according to pre-determined category choices. The
choices were: strongly agree; agree; neither agrees or
disagrees; disagree; strongly disagree. Students were
required to rank a number of statements and questions
focused on their earlier lecture on inspiration. Question
3 and 4 were focused on whether the students felt they
would like to know more about this topic. Questions 5
and 6 were looking to identify if this topic was relevant
to them at this stage of their career. The meditation and
understanding of nature were the focus for questions 7
and 8. The final two questions (9 and 10) required an
overall evaluation of their own design ideas after the
initial lecture.
3. Results
The table below demonstrates the students’
response to questions 1 and 2 of the questionnaire.
Questions 1 and 2 were closed questions requiring a
simple yes or no response from each student. Whereas,
questions 3 through 10 required the students to rank
each statement/question using a pre-determined Likert
scale.
In a similar way, figure 1 depicts the students’
response to the closed questions (1 and 2). Figure 2
shows the students’ response to questions 3-10. The
final figure shows the students’ response to agreement
or disagreement in questions 3-10.
Table 1: Students’ response to Questions 1 and 2 of the questionnaire.
Questions Yes
No
N (%) N (%)
Q1
: Did you hear about inspiration from nature before today’s lecture? 21 70 9 30
Q2
: Did you get this subject inspiration in a different module or just this module? 6 20 24 80
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Table 2: Students’ response to Questions 3 to 10 of the questionnaire.
Questions
Strongly
agree Agree
Neither
Agree or
disagree
Disagree Strongly
disagree
N
(%)
N
(%)
N
(%)
N
(%)
N
(%)
Q3
: One lecture is enough to fully comprehend
this technique for obtaining inspiration? 3 10 8 27 4 13 14 47 1 3
Q4
: I would like to have more lectures to
understand technique of inspiration from nature. 16 53 6 20 4 13 4 13 0 0
Q5
:
This inspiration subject/topic relevant to me
as a student of interior design? 24 80 5 17 0 0 1 3 0 0
Q6
: This inspiration topic is very important in
this stage of university: year one. 11 37 15
50 3 10 1 3 0 0
Q7
: Inspiration helps me to gain a deeper
understanding of nature. 19 63 10
33 0 0 1 3 0 0
Q8
: Inspiration helped me to meditate on the
environment. 19 63 10
33 0 0 1 3 0 0
Q9
: The evaluation of my design becomes higher
after I know inspiration. 6 20 9 30 7 23 8 27 0 0
Q10
: I like my design
after I know the topic.
11
37
13
43
5
17
1
3
0
0
Figure 1: Bar chart showing students’ response to Questions 1 and 2.
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Figure 2: Bar chart showing students’ response to Questions 3 to 10.
Figure 3: Bar chart showing students’ response to agreement or disagreement in Questions 3 to 10.
4. Discussion
The questionnaire results revealed that inspiration
from nature is a relevant, useful and also popular area
that needs to be taught in more detail in undergraduate
study. Questions 1 and 2 revealed that 70% of students
had heard of this topic before but not through
university teaching. 80% of students acknowledged
that this topic hadn’t been transmitted in a different
module or course at the university. In relation to
questions three and four the majority of students agreed
that they needed more lectures to fully understand the
information and apply the research to their own
conceptual designs.
In response to the question five and six: Is this
inspiration subject/topic relevant to me as a student of
interior design and the topic is very important in this
stage of university: year one? The majority strongly
agreed with this statement as 80% of students strongly
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145
agreed that this topic was relevant to them and 87% of
students either strongly agreed or agreed that the topic
is very important to them at this stage of university:
year one. This is an important finding, which reflects
the need for this topic to be taught to year one interior
design students. The majority of students also agreed
with these two statements: Inspiration helped them to
gain a deeper understanding of nature (96% either
agree or strongly agree). In addition, 96% also either
agreed or strongly agreed with the statement that
inspiration helped them to meditate on the natural
environment. This stimulated them to search further on
this topic because in the lecture they just received a
general introduction. In question nine and ten students
recognised that evaluation of their design becomes
higher after they know the topic of inspiration. In
addition, self-confidence seemed to flourish as 80%
either agreed or strongly agreed that they liked their
designs more about being informed of this topic.
Overall, the students answered each question on the
questionnaire in a positive and encouraging way.
This research, especially the results of question 9
and 10, concurs with Stokholm’s premise that the use
of nature to stimulate design ideas and act as an
‘assisting tool’ to conceptual designs is a valid and
ecologically viable option. Bionics is ‘no universal tool
for solving problems, but may in the best way be an
excellent assisting tool’ (Stokholm, 2007).
Furthermore, these results also are supported by the
research of Vahedi who indicated that nature provides a
solution for interior designers and architects to hone
their design works and optimize their ideas (Vahedi,
2009). Questionnaires revealed a high level of
increment in the creativity of students and their
innovation ability. The findings revealed that the
majority of students found that this initial lecture
fascinated them and as it helped to broaden their
thinking and impacted their creative design and
processes. The students also stated their desire to see
this topic included on the undergraduate specification
as a core module of teaching.
This study supports Lovegove’s stance on design
and the application of nature. Lovegove has stated that
contemporary design is often lacking and uninspired.
Perhaps the answer would be embracing and teaching
biomimicry to budding interior designs and artists.
Lovegove would advocate implementing nature into
design and gaining a deep understanding of the forms
nature has demonstrated. After all, this natural design
has been in the world longer than humans.
Practical recommendations from this research
include the need to consider this topic as a main
component of the design education system. This
research compliments Godfaurd et al.’s research (2005)
that the natural world has valuable lessons that can be
applied to architecture or design as a whole. The
natural world can be viewed as a type of archive from
which we can extract ideas and one that can also
inspire creativity.
Design students indicated the need to establish
and impart a core teaching module that focuses on
inspiration transmitted through nature; as the findings
revealed that students were interested in this topic as an
aid to the development of their designs. Lecturers
should advocate looking at nature in new ways and
ultimately this can inspire and motivate their students.
The Biomimicry Institute acknowledges that
biomimicry is expanding as a topic resulting in
academic establishments throughout the world
incorporating this subject in their institutions. For
example, Harvard University boasts the Aizenberg lab,
which considers the basic principles of
biomineralization. Additionally, Imperial College
London has an institute of biomedical engineering.
The research also revealed that one lecture is
clearly not enough to impart to interior design students
the full details regarding inspiration stemming from
nature and the application of natural principles. In
addition, this subject is not currently on the
undergraduate interior design syllabus instead the
student tended to focus on more theoretical modules
such as the history of art. Furthermore, it is clear that
the study of nature can be a source of inspiration for
the whole generation and perhaps it should even be
introduced into the curriculum at an earlier age
possibly during elementary school. A meditation and
awareness of nature can be a source of perpetual
creative inspiration, which can benefit society as a
whole.
Conclusion
It is clear that learning from nature is inspirational
and offers potentially unlimited design opportunities.
The researcher wanted to explore new and innovative
approaches to develop and share creativity and the
analysis demonstrated that students are keen to know
more about biomimicry and how it can assist their
chosen career as an interior designer. The application
of biomimicry and its transmission through
undergraduate lectures enables students to meditate on
the power of nature. Students will not only be learning
about design but they will also be informed concerning
nature and natural world as a means of design
inspiration.
This study has intended to reveal new approaches
to teaching interior design students by focusing on
drawing and applying inspiration from nature. Nature
may provide constructive material that can be a source
of creative inspiration. The application could be used to
inspire future designers and students material
innovation. The researcher proposes the use of
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compulsory modules of teaching based on biomimicry
and inspiration from nature.
Corresponding Author:
Dr. Abeer Alawad is an assistant professor at King
Abdulaziz University, Faculty of Home Economics.
Department of Housing, track of Interior Design and
Furniture.
Email: aalawad@kau.edu.sa .
References
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3/23/2014
