Designing matter across scales with microorganisms The MMMM (Micro-Mezzo-Macro-Meta) approach

Abstract

Biodesign is a growing discipline focusing on material futures, alternative production methods and more interdependent solutions with Nature. In particular, it fosters designers to interact with other microorganisms and living matter for the development of materials and potential applications often based on material tinkering and material-driven design methods (MDD). The interweaving of human and other- than-human agencies raises multiple questions and characterizes levels of complexity throughout the design process. The purpose of this article is to elaborate a posteriori on practice-based research to support biodesigners in their interdisciplinary practices.
First, it proposes "mattertypes" as a comprehensive term that describes material prototypes resonating with non-anthropocentric design. Mattertypes embody not only human and other-than-human agencies but also situated peculiarities: environmental, social, and systemic factors and implications.
Second, it illustrates an approach called MMMM (Micro-Mezzo-Macro-Meta) a scale-based structure that aims to facilitate project workflows and enhance the understanding of the whole process. The scales are explained with practical examples based on the experience gathered during three research projects on SCOBY1 (also called bacterial or microbial cellulose). Namely, a product design BA- and an Eco-Social design MA-thesis, and an interdisciplinary research project investigating and developing packaging, food concepts, and scenarios for more resilient (g)local prospects.

Full text

International Conference 2023 of the Design Research Society
Special Interest Group on Experiential Knowledge (EKSIG)
Conference Proceedings
From Abstractness to Concreteness – experiential knowledge and
the role of prototypes in design research
19-20 June 2023
Department of Design, Politecnico di Milano, Italy
Editors: Silvia Ferraris, Valentina Rognoli, Nithikul Nimkulrat
Published 2023 by
Politecnico di MIlano
ISBN: 9788894167436
This work is licensed under a Creative Commons Attribution – 4.0 Noncommercial
International License http://creativecommons.org/licenses/by-nc/4.0/
Quest'opera è stata rilasciata con licenza Creative Commons Attribuzione - Non
commerciale 4.0 Internazionale. http://creativecommons.org/licenses/by-nc/4.0/

311
Designing matter across scales
with microorganisms: The MMMM
(Micro-Mezzo-Macro-Meta) approach
Sicher, Emma, Humboldt-Universität zu Berlin, Italy
Seçil, Uğur Yavuz, Free University of Bozen-Bolzano
Nitzan, Cohen, Free University of Bozen-Bolzano
Abstract
Biodesign is a growing discipline focusing on material futures, alternative production methods and more
interdependent solutions with Nature. In particular, it fosters designers to interact with other
microorganisms and living matter for the development of materials and potential applications often based
on material tinkering and material-driven design methods (MDD). The interweaving of human and other-
than-human agencies raises multiple questions and characterizes levels of complexity throughout the
design process. The purpose of this article is to elaborate a posteriori on practice-based research to
support biodesigners in their interdisciplinary practices.
First, it proposes "mattertypes" as a comprehensive term that describes material prototypes resonating with
non-anthropocentric design. Mattertypes embody not only human and other-than-human agencies but also
situated peculiarities: environmental, social, and systemic factors and implications.
Second, it illustrates an approach called MMMM (Micro-Mezzo-Macro-Meta) a scale-based structure that
aims to facilitate project workflows and enhance the understanding of the whole process. The scales are
explained with practical examples based on the experience gathered during three research projects on
SCOBY 1 (also called bacterial or microbial cellulose). Namely, a product design BA- and an Eco-Social
design MA-thesis, and an interdisciplinary research project investigating and developing packaging, food
concepts, and scenarios for more resilient (g)local prospects.
Biodesign, prototyping, DIY materials, bacterial cellulose, glocalism
The active engagement of design disciplines with microorganisms has been emerging in the
last decades. Biodesign (Myers, 2012) is the name of the field of reference encompassing
approaches such as growing design, in which existing microorganisms like bacteria, fungi,
microalgae, or mixed cultures are used for researching and developing new sustainable
materials (Camere and Karana, 2017). Microbial production is used to generate substances
that have peculiarities differing from established materials with foreseeable behaviours,
characteristics, and performances. In this realm, material making and processing protocols –
also called ‘recipes’- are investigated and defined using Material-Driven methods and
material tinkering seeking to achieve interesting properties and qualities revealing new
material experiences (Karana, et al. 2015; Parisi, et al. 2017). Iterative sessions result often
in high amounts of samples, models, and prototypes acting as tangible proof of processes
1 Symbiotic Culture of Bacteria and Yeasts also known for being a cellulose-based pellicle with remarkable
properties, edible and non-edible potentials

312
(Rognoli and Parisi, 2021). In the R&D processes of DIY materials, designers encounter
uncertainty, failures, unforeseen discoveries, and surprising results, even more so when
including living micro-entities and their own agencies. Given the high amount of variables
and co-metabolic dynamics, it could be hard even for microbiologists to explain why
outcomes might be different from what expected (L. Conterno2, Personal communication,
November 29, 2022).
Working with microbes is a highly experiential and embodied practice that is based on a
certain degree of co-dependence and even on a sort of intimate relation. Hence, producing
new materials does not depend solely on human agency anymore but is negotiated with
other-than-humans towards multispecies design (Rognoli, Pollini and Alessandrini, 2021).
The process involves getting to know the microbes, nurturing them, and acting according to
their biological preferences -or not- depending on wished variables in the end outcome.
Experts, tools, and methods from different fields are often involved in growing design
projects, creating new relationalities and approaches that strive to propose sustainable
practices on distributed, local, and global scales (Cohen, et al., 2022b), so-called (g)local
(Robertson, 1995).
Drawing on practice-based experience gained in the course of ongoing interdisciplinary
research projects investigating SCOBY, this paper proposes a posteriori elaborated
terminology for prototyping and a holistic project approach based on scales that aims to
facilitate project workflows and enhance the understanding of the whole process.
First, "mattertypes" is introduced as a comprehensive term describing material outputs of
biodesign and material-driven projects. Mattertypes represent a shift towards a more
dynamic, organic, and collaborative approach to design that interweaves human and other-
than-human agencies with science, technology, society and environment.
Second, the ‘MMMM’ (‘Micro–Mezzo–Macro-Meta’) approach is proposed to tackle the high
complexity of practice-based biodesign projects. By suggesting a scale-based structure, it
aims to support biodesigners in assessing project workflows suggesting activities and
collaborations, and enhancing an overall understanding of their practice.
Prototype in Designscapes
Prototyping is one of the fundamental designers’ activities resulting in a variety of definitions,
intangible solutions, tangible matters, and application proposals. Houde and Hill (1997)
highlight the ambiguity of the meaning of prototype as a term in the different design fields that
can range from a foam model to a storyboard. Furthermore, a prototype can be any
representation of a design idea showing its ‘role’, ‘look and feel’, or ‘implementation’ (ibid).
This ambiguity and variety have been increasing since design research as a field has been
growing and evolving in diverse ways of doing and knowing. Shifting from a mere
representation towards means of experimentation and inquiry, prototypes can be defined ‘as
vehicles for research about, for or through design’ (Wensveen and Matthews, 2014).
Research through design focuses on ‘the possibility of design to be done on the basis of
2 Dr. Lorenza Conterno is a microbiologist head of the Fermentation and Distilliation Group of the Laimburg
Research Centre in South Tyrol

313
design practice i.e. by artistically/creatively making objects, interventions, processes etc. in
order to gain knowledge’ (Bang et al. 2012). Therefore, such ‘procedural artifacts’ differ from
traditional prototyping of products and embrace social, conceptual, and ontological functions
(Schubert at al., 2021).
Besides the role of artifacts as knowledge generators, they can also provoke debate and
‘embody tensions surrounding an area of interest’ (Boer and Donovan, 2021). Moreover, in
design fiction, ‘diegetic’ prototypes acquire a different function ‘to suspend disbelief about
change’ (Sterling, 2012) and make people experience possible futures through simulations of
future scenarios and materializing not-yet-existing technologies.
In the wide designscape, prototypes are used in many ways and engage with diverse
audiences, such as ‘users’ to test ideas, co-designers to make collective decisions (Houde
and Hill, 1997), or a specific group of people –like neighborhoods- to foster social actions.
Depending on the context and the engaged public, prototypes vary in role, form, and scale.
In emerging fields like biodesign and material-driven design, prototyping embraces new
characteristics going beyond the above-mentioned functions. As Ferraris & Barzilai (2021)
assert, such transcendence makes sense since ‘things’ that are at the center of the practice
are living beings.
Prototyping materials: Mattertypes
Although prototyping in design research has been acquiring new roles and meanings, still in
the traditional product design processes, the terms commonly utilized to describe objects,
devices, materials, and artifacts that are developed are: models, and prototypes. This
terminology is strongly linked with industrial mass production in which the development of a
new product involves a series of iterations from concept, through 2D and 3D development
and visualization of an artifact, to its material and production drafts, until the final evolved
artifact is serially produced.
Often materials chosen for models are cheaper and easy to shape, simulate volumes,
structures, colours, and surface finishings allowing designers to test and observe them,
conduct user testing, discuss, and generate insights that enable development with valuable
and advantageous adjustments. Prototypes are instead, often made using the same or
similar materials and production techniques that are intended to be the final ones.
However, in the field of DIY materials, the focus is on the development of substances and
matter that could only later be used for new applications and artifacts. Given that 'models’
and ‘prototypes’ are generally made of already established materials in product design
processes, such terminology could be limited as it does not refer specifically to materials.
Material-driven design and biodesign encourage more radical approaches to the very matter
that could constitute artifacts with enhanced ecologic and systemic commitments. Material
tinkering (Parisi, et al. 2017) especially, focuses on iterated samples that could further mature
into new materials. Indeed, it could be seen as a pre-prototyping practice that fosters
designing ‘with materials’ or ‘for materials’ (Rognoli and Parisi, 2021). Rognoli and Ayala-
Garcia (2021) refer to DIY material samples developed in tinkering-for-materials processes
as ‘material drafts and demonstrators’. Especially, ‘material demonstrators’ aim to showcase
the outcomes of material experimentation and their variants. They could be delivered to

314
companies that could refine and finalize them for commercial applications or used for design
speculations (ibid.).
From an ontological point of view, Bennett introduces ‘vibrant matter’ (Bennett, 2010) as a
term expanding materiality to the vitality of the matter by highlighting its multiple agencies
within complex ecologies. Moreover, a recent paper by Zhou, et al. (2022) illustrates
material-centric approaches in which non-human actors are active contributors to the design
process itself. In this way, materials become carriers of a wide variety of information
reshaping human and other-than-human relations by embedding their agencies.
During our exploration of growing materials, we perceived a gap in the terminology to
effectively articulate the nature of our work and its outputs. Therefore, we propose the term
"Mattertype" merging “matter” intended as both “subject of the discourse”, and “substance
from which something is made” with “type” intended as “kind”. It is a holistic term that
resonates with non-anthropocentric design (ibid.) and could be used to describe material
outputs of growing design and material-driven projects, meant as the various material
prototypes that emerge through iterative work in a design process.
Mattertypes represent more dynamic, organic, and collaborative approaches to design based
on materials that incorporate the agencies of humans and other-than-human entities.
Mattertypes are seen as material entities within interdependent systems (assemblages).
They have environmental, systemic, and social entanglements, and broader implications
beyond just their physicality.
Mattertypes are organic substances, functional ingredients, based on biomasses. They can
come in different states ranging from powder to granulate, to sheets, to blocks, to solid foam,
to gels. They could be unprocessed or processed, precise cut-out samples as well as
organically defined shapes, homogeneous or heterogeneous, smooth or rough, soft or hard,
wet, humid or dry, quickly decomposing to durable, with different textures and aesthetics.
Methods for co-working with microbes
Material designers engaging with microbes often focus on production-driven innovation and
likely use experimental approaches to design for regenerative systems. To do so, methods
coming from different disciplines are adopted. Growing materials practices often use
methods from ‘DIY material design’ (Rognoli, et al., 2015). However, tinkering is not only
practiced with materials but also with the growth process. Indeed, different nourishing
sources, parameters and growing conditions -such as temperature, humidity, acidity- can
generate diverse properties and both, edible and non-edible potentials. Co-working with
microbes is based on ‘learning-by-growing’ namely, the embodied and subjective experience
of the ‘getting to know’ of the microbes by understanding how to create an environment
where they can proliferate and thrive. Understanding includes also different senses (Rognoli,
2010) indeed, information about the state of growth could often be perceived through sight
(color change of the growth medium, color of the growing microbial substance, textures and
aesthetics of the microbial cultures), smell (acidic or basic could suggest the state of acidity
and possible contamination), touch (toughness, fragility, density), and in some cases also
taste.
The monitoring of the microbes can occur by combining qualitative and quantitative methods

315
requiring both subjectivity (senses) and objectivity (data collection devices) throughout the
process. Subjectivity is essential in the generation of intuitions, insights, hypotheses ranging
from microbial growth, material experimentation and selection, prototyping and potential
applications. Subjectivity does not only include human perspectives but alsoother-than-
human expression and agency (Braidotti, 1994). Therefore, when talking about subjectivity,
the microorganisms’ own perspective, perception and modes of communication should be
also taken into account as a different type of intelligence (Bridle, 2022).
Objectivity refers to measurements, data collection, and comparative methods taking place
often in collaboration with scientists who share their know-how and enable access to
equipped labs and machinery. In this way, it is possible to systematically address processes,
test hypotheses and assess repeatable protocols for growing and post-growth processes,
processing, evaluate variables, and effective potentials.
Similarly to material tinkering, also growing material practices borrow equipment and tools
from other fields like craft, culinary, and biotechnology fostering cross-pollination among
disciplines (Parisi, et al. 2017; Ayala-Garcia, 2015). When material-driven design meets
biotechnology, the focus is often on the revalorization of resources that are currently
discarded or undervalued proposing ways to recognize and enhance their value.
Interestingly, when co-working with microbes, the borders between food and materials blur as
microbial agencies could turn food into non-food and even into food again stimulating
situated investigations to identify regenerative opportunities (Cohen, et al. 2020).
Methods and tools in biodesign are highly interdisciplinary as multiple factors, dimensions
and scales come into play. This complexity leads not only to an urge to reflect upon iterative
tinkering and prototyping activities but also upon methodologies to facilitate the assessment
of design-driven projects in frameworks with multiple disciplines.
Prototyping across scales: ongoing R&D with SCOBY
SCOBY is a Symbiotic Culture of Bacteria and Yeasts that looks like a thick and translucent
gelatinous pellicle (fig. 1). It is known for being the Kombucha starter: it is commonly
immersed in sweetened tea, fermenting it into the popular beverage. During the brewing
process, the microbes feed on the dissolved sugars and generate acetic substances and
microbially produced fibers of pure cellulose generating a new pellicle. Besides the originally
Manchurian drink (Villarreal-Soto, et al. 2018), this process is renowned also for Nata de
Coco (fig. 2) which is a low calories and fibers-rich dessert popular in the Philippines
(Piadozo, 2016). Nata is made of SCOBY obtained from the fermentation of a production
‘byproduct’: coconut wastewater. It is generally cut into cubes, cooked into syrups, and often
served with fresh fruits.

316
Figure 1: SCOBY grown from sweetened tea Figure 2: Nata de Coco (SCOBY grown from coconut wastewater)
From a scientific perspective, the SCOBY is made of a matrix of bacterial cellulose (BC)
nanofibers that are produced by acetic acid bacteria (AAB) -especially by Komagataeibacter
xylinus (Serra and Hengge, 2019). These nanofibers are a hundred times thinner than those
of plant cellulose, and their water-holding capacity is hundred times higher (Chawla, et al.,
2009) –retained water constitutes more than 90% of the SCOBY volume. In addition, the
pellicles possess valuable properties like high cristallinity and tensile strength, insolubility in
water and most solvents, moldability, high degree of polymerization with a variety of possible
material states and applications (ibid.). Interestingly, BC can be successfully produced also
using fruit- and vegetable-based secondary products like pomace and marc (Pajuelo, et al.
1997; Kurosumi, et al., 2009; Islam, et al. 2017). This feature results in two main benefits: on
one hand, functional and nutritional properties can pass from the nourishing liquid to the
SCOBY thanks to the fibers’ adsorbent characteristics (L. Conterno, personal
communication, November 10, 2022) on the other hand, SCOBY production could have
lower costs (Bungay, et al., 1997; Mohammadshirazi and Kalhor, 2016; Hussain, et al. 2019)
and be adapted to different available biomasses, production scales and (g)localities.
Although plenty of ongoing research on BC is conducted, it is yet underexplored, especially
with regard to possible material states, applications, and uses that go beyond SCOBY
sheets, and especially, fashion-related and wound-dressing proposals.
New opportunities and potentials have been revealed during ongoing research focusing on
SCOBY conducted at the Faculty of Design and Art of the Free university of Bozen-Bolzano.
Namely, design-driven investigation was carried on with three consequent projects: ‘From
Peel To Peel’ a Design BA thesis (Sicher, 2017), ‘InnoCell’ an interdisciplinary funded
research 2018-2022 (Design F(r)iction Lab, 2023) and ‘EATING SCOBY’ an Eco-Social
Design MA thesis (Sicher, 2022).
Throughout these projects, the process of prototyping was re-evaluated and seen as a range
of tangible and intangible outcomes used to manifest design ideas.
These ideas were developed in different stages and sizes, aiming to create practical

317
knowledge, mattertypes, prototype applications, and theories in the context of South Tyrol.
This process required ongoing interdisciplinary collaboration with partners and stakeholders
from various fields.
We realized a posteriori that such a multiscale and interdisciplinary approach enables not
only theoretical speculation but also a deeper and more holistic learning process that
promotes more conscious and grounded project development. Moreover, a systemic
investigation in a situated context provides opportunities to directly interact with stakeholders,
and address site-specific ecologic, social, and systemic issues.
The ‘MMMM’ (Micro-Mezzo-Macro-Meta) approach
The proposed R&D approach (fig. 3) is denominated ‘MMMM’ - Micro Mezzo Macro Meta. It
suggests a project structure that intends to support biodesigners and interdisciplinary teams
in organizing workflows and dealing with multiscale complexity. It is based on six years of
highly experimental practice-based research in the realm of growing design projects that aim
at speculating and benefiting existing (g)localities. The four proposed scales are explained
with practical examples suggesting R&D tips, activities, possible collaborations, and
outcomes.
In other words, the MMMM approach aims to facilitate the planning of projects involving
multiple disciplines. This approach can be used not only to develop new materials but to
implement a more holistic systemic perspective. Matter is seen as active element in a system
of multiple-intersecting-scales rather than just a mere resource. The intent is also to foster a
continuous understanding of what one is doing through ongoing discourse with actors and
stakeholders. Such commitment aims at addressing urgent ecologic and social issues and
developing feasible solutions based on existing realities.
Micro
The goal on this scale is to get closer to the microcosmos to identify microbial entities of
interest, get to know their biology and frame their capabilities, needs, and potential to grow
matter. This part requires an in-depth literature review involving not only design publications
but also a variety of scientific disciplines (food technology, biology, microbiology, synthetic
biology, chemical engineering, ecc.). Through this knowledge, designers would be able to
learn specific scientific/technical language, test research questions, and plan microbial
growth experimentations. Especially, it is important to learn about nourishment, equipment
requirements, and possible variables conducting to different outcomes. This state-of-the-art
research enables learning-by-growing and identify, hack, iterate, and define protocols for the
growth and (re)production of microbial substances.
A combined subjective and scientific approach based on trial and error with a systematic
collection of data is essential to enable efficient iterations and scale-ups (Rognoli and Parisi,
2021). Acquiring competencies about microbial growth is important for designers as it
facilitates the maintenance of the microbes, successful yields, and an easier achievement of
wished properties fostering more independence, less failure frustration, and dramatic time
and resources saving.

318
For this research part, collaboration with interdisciplinary experts is strategic and strongly
recommended. It is ideal to connect with people involved in disciplines ranging from material
science to microbiology, bio- and food-technology. Academia and public institutions could
provide more accessible knowledge, equipment, resources, and infrastructures. Sometimes,
even open co-working spaces like FabLabs could dispose of suitable machines and tools. In
some cases, these specialized workspaces are called Kitchen Labs as is the case at NOI
Techpark, or BITZ fablab of the Free University of Bozen-Bolzano which offer mixed
equipment commonly used in gastronomy and scientific labs. However, also private
practitioners and centers could offer valuable support and knowledge-sharing could be more
limited, often due to NDAs.
Figure 3: Visualization of the MMMM method and its core points

319
The research on SCOBY began with the intention to tackle ecologic issues around
single-use packaging. SCOBY was chosen among other actors such as algae, and
DIY bioplastics because of its capacity to be produced using locally discarded
biomasses and its adaptability to various raw resources. These characteristics make
it very versatile and possible to implement in many local areas around the world. In
the beginning, the growth and consequent experimentation on SCOBY were
conducted without a structured methodology. It soon became clear that a systematic
workflow and collaboration with scientific partners would have improved the growth
process. Therefore, a collaboration began with food technology experts (Food
Technology platform, Faculty of Science and Technology – unibz) who supported in
setting the parameters to prepare nourishing medium and methods to monitor and
adjust it during the growth. This collaboration continued throughout the ‘InnoCell’
project. In such a framework, the food technologists tested, compared, and analyzed
nourishing liquids for SCOBY growth based on tea, lemon-marc, and apple pomace
(unpublished results) to define efficient and reproducible protocols. They were then
provided to the design team that, after learning how to use specialized equipment and
perform them, independently took over the production of SCOBY mass. The
generated amounts were then used to tinker and iterate mattertypes aimed at
developing application prototypes.
During InnoCell, samples of the produced SCOBY mass were delivered to another
team of experts namely, microbiologists (Micro4DFood team, Faculty of Science and
Technology – unibz) who conducted comparative tests regarding the impact of
bacterial cellulose fibers on microbiota under simulated gastrointestinal conditions.
The preliminary unpublished results show that SCOBY grown from apple-pomace
embeds valuable antioxidants (arabinoxylans). This unexpected finding together with
published scientific articles (Shi, et al. 2014; Azeredo, et al., 2019; Vitas, et al. 2020)
supports the nutritional potential of SCOBY as a prebiotic food source. This seed
information was the ground for the MA thesis project ‘EATING SCOBY’ which
framework involved a strict collaboration with microbiologists (Fermentation and
Distillation Group of Laimburg Research Centre). It resulted in protocols defining
nourishing liquid preparation with four different biomasses produced in South Tyrol
(apple, raspberry, beetroot, grapes) and conducted a comparative analysis (fig. 4-7)
about antioxidant potential and total polyphenol content (TPC) that confirmed the
prebiotic potential of all four generated SCOBYs. This result provided scientific
confirmation that grounded and improved the credibility of hypothesized applications
and scenarios.

320
Fig. 4 SCOBY grown from local secondary products-based liquids at Laimburg Research Centre.
Fig. 5 Powder samples of the grown SCOBYs.

321
Fig. 6 SCOBY extracts made for antioxidant analysis at Laimburg Research Centre.
Fig. 7 Plate prepared with extracts for antioxidant analysis at Laimburg Research Centre.

322
Mezzo
Mezzo focuses on material-driven design (Karana, et al. 2015), tinkering, mattertypes, and
prototyping.
Production equipment and tinkering
Once the growth process is mastered and the wished substance is produced in good
quantity, the following goal is often to actively achieve new materials (Ribul, 2013; Rognoli
and Ayala-Garcia, 2018) with unique capabilities that ideally overcome the notion of ‘material
surrogates’ (Rognoli and Levi, 2005). (Microbial) Matter can be used with a 100%
concentration and/or be mixed with other functional substances that enhance the
performances. Tinkering often involves dying and color effects, texturization, folding, forming
(thermal and cold), casting, molding, stamping, foaming, extrusion, laser-cutting, and
burning. However, the variety and quality of mattertypes are strongly dependent on the
available equipment and accessible experimentation spaces. Often, designers (co)develop
their own tools and equipment to achieve specific and/or preferred outcomes (Parisi, et al.
2017) ranging from hand tools to even high-tech bioreactors.
In project From Peel To Peel, SCOBY was grown in a static way with often improvised
nourishing liquid. It soon became evident that such conditions were not ideal in terms of
homogeneity of the medium, contamination potential and temperature variability. Therefore,
the following growing cultures were hosted in an incubator in a food-technology lab which
enabled constant monitoring and more controlled settings. During the project InnoCell,
production processes were investigated through literature review and one appeared as the
most efficient one in terms of liquid:generated SCOBY ratio namely, the rotating disks
bioreactor. Such a principle was found in an expired patent (Bungay and Serafica, 1995) and
scaled-up in an open-source module called the ‘InnoCell Bioreactor’ (fig. 8) (Cohen, et al,
2022a) enabling the production of 10 to 15kg of wet biofilm per production cycle (12-21 days)
depending on nourishing source. Produced mass was later on used for tinkering and
prototyping.
A suitable tinkering space needs to be well planned and established with enough usable
surfaces, appliances for tinkering (generally a mix of kitchen tools (Ayala-Garcia, 2015) and
lab equipment) and also in terms of safety measures and ventilation. It is also important to
foresee where to store ingredients, experiments, and mattertypes. Labs commonly used in
other disciplines (like biotechnology, gastronomy, and engineering) could also be used for
collaborative tinkering, testing, and analyzing.
During the sessions it is essential to document procedures in a systematic way, this enables
reproduction of mattertypes, easy adjustments towards preferred characteristics, and
promotes insights generation for further experimentation. Partnering with scientists could
provide planning and iteration insights, mutual learning processes, and promotes the
development of a common language. In the MMMM approach, at a certain point in the
tinkering process, mattertypes need to be selected to further develop prototypes.
In InnoCell the SCOBY mass (fig. 9) was produced with the bioreactor using media based on
tea and on apple-biomass. Consulting scientific articles from engineering, biotechnology,
food technology, and methods used in gastronomic disciplines like food rheology and

323
molecular gastronomy enabled the iterative development and finalization of techniques to
transform SCOBY in different states. Tinkering and prototyping took place in design
workshops and scientific laboratories (FaST Lab - unbz) and included processes like
purification (fig. 10, 11), pulverization (fig. 12), transformation into granulate (fig. 13), sheets
with various textures (fig. 14) and shades (fig. 15), and solid foam (fig. 16, 17). It was
observed that depending on the nourishing source, processes and material recipes had to be
adjusted differently.
It was generally observed that tea-grown SCOBY is more structural, tough and translucent
while apple-based SCOBY is softer and more opaque.
In ‘EATING SCOBY’ techniques borrowed from gastronomy like deep frying, spherification,
and jellifying were also implemented to develop food concepts.
Fig. 8 InnoCell Bioreactor

324
Fig. 9 Harvested SCOBY grown with the bioreactor
Fig. 10 Purified wet biofilms Fig. 11 Purified dry SCOBY sheet samples
Fig. 12 Mattertypes: Microbial cellulose powder Fig. 13 Mattertypes: Microbial cellulose granulate

325
Fig. 14 Mattertypes: Patterned SCOBY sheets Fig. 15 Mattertypes: Sheets dyed with different pigments
Fig. 16 Mattertypes: 100% SCOBY solid foam Fig. 17 Mattertypes: Pigmented SCOBY solid foams
Prototyping
Prototyping is seen as the phase in which application hypotheses are materialized.
First, to hypothesize possible applications it is essential to carry out in-depth interdisciplinary
research defining a state-of-the-art of what has been done so far with the (microbial)
substances in question. Such an inquiry is generally based on desk research and should
navigate through design, scientific, and other case studies coming from different disciplines
(gastronomy, engineering). This promotes building upon the existing knowledge and enables
the identification of opportunity areas. Indeed, some novel discoveries made on laboratory
scales have yet underexplored product and scale-up potentials. Possible applications can be
generated with design thinking methods and co-design workshops. The involvement of
interdisciplinary partners and stakeholders is encouraged to enrich the project with insights
and know-how directly from gained experience, ongoing research, existing practices, and
contexts.
Applications can be defined on the base of mattertypes’ properties and performance,
effective production possibility, or could also be highly speculative, depending on the
project’s intentions. As highlighted in the previous section, access to professional equipment
and facilities is crucial and strongly affects the prototyping phase as well. Depending on
available infrastructures, the applications can be materialized as models or prototypes to
deliver the proposed potential visually and physically. Models could be made with alternative
yet similar materials that are easier to collect or process. Prototypes, on the other hand,
should be made using the selected mattertype recipes. However, at times the shaping or

326
production process to make the prototype might differ from the technique that would be used
for the possible scaled-up production of the matter.
In the project From Peel To Peel, research began by deepening the design-led work of
Suzanne Lee (2011), Sacha Laurin (2015), and Ellen Rykkelid (2016). The latter project
revealed the potential of SCOBY to be grown from fruit and vegetable sources that inspired
the (g)local vision. The project’s outcomes are prototypes of packaging bags and single-use
containers (fig. 18). The main research question was: ‘What if packaging could be made
through regenerative production?’. Therefore, SCOBY was used to turn peels (secondary
products) into other ‘peels’ (food packaging/containers) with similar life cycles. Single-piece
prototypes were made in design workshops with SCOBY sheets processed in different ways.
In project InnoCell, possible SCOBY uses were brainstormed during design-thinking
workshops also in collaboration with food technology experts. The selection of application
hypotheses for prototyping was done according to the most innovative discoveries namely,
the prebiotic potential of SCOBY and the newly developed solid-foam protocol.
Especially, the latter was not previously achieved in the design field so, its valuable potential
was speculated as a compostable alternative for foam packaging like filling chips, and mono-
material containers for electronic devices (fig. 19, 20) (smartphones, smartwatches, and
earpods). These concepts were materialized with milled polyurethane models in design
workshops.
The second direction was food, supported by data provided by microbiology colleagues
confirming the antioxidant and prebiotic potential of SCOBY. Also in this case, the selected
applications namely crackers (fig. 21) and chips were realized with milled polyurethane
models while puffed crisps (fig. 22) were simulated with painted 3D-printed pieces. The
reason for choosing models was because of time issues and technique, as milling was still to
be tested on SCOBY foam volumes.
In the project EATING SCOBY, all artifacts were prototypes made with selected mattertype
protocols materialized in design workshops, fablab (BITZ), and scientific labs (FaST Labs -
unibz). Very valuable was the consultancy and collaboration with gastronomy expert chefs
(Michelin starred Terry Giacomello and Michele Granuzzo) who suggested techniques to
achieve specific material states and textures. The final prototypes resemble familiar designs
like edible paper, chips, ice-cream cones, jelly candies, and pasta (flat, extruded-looking, fig
23; and filled, fig. 24), popsicles (fig. 25), puffed biscuits, puffed crisps, and snacks; and other
specialized designs that are based on SCOBY’s unique properties like oxygen barrier
capability (sausage casing, fig. 26; sauce packets), its raw prebiotic, antioxidant and fibres-
rich capabilities (jelly sphere dressing, fig. 27; and puffed supplements, fig.28 - that can
provide also aesthetic qualities to the foods they are added to), and color possibilities,
indeed, gradients and, colour effects can be easily obtained thanks to its hydrophilic
characteristic.
After the physical realization of prototypes, visual documentation with high-quality pictures
and videos is highly recommended as microbial matter is organic and inevitably oxidizes and
decomposes over weeks or months. These aspects need to be planned in advance when
aiming at producing exhibition materials: either mattertypes and/or prototypes are left to
decompose, or are continuously (re)produced, it is suggested that visual documentation of
the matter should be displayed as well to show the passing of time.

327
Fig. 18 Prototypes: From Peel To Peel | Bag packaging and single use tableware
Fig. 19 Models: InnoCell | Pods packaging

328
Fig. 20 Models: InnoCell | Packing chips
Fig. 21 Models: InnoCell | Puffed crackers

329
Fig. 22 Models: InnoCell | Puffed crisps
Fig. 23 Prototypes: EATING SCOBY| SCOBY radiatori

330
Fig. 24 Prototypes: EATING SCOBY | Gradient dumpling
Fig. 25 Prototypes: EATING SCOBY | Popsicle

331
Fig. 26 Prototypes: EATING SCOBY| Sausage casing
Fig. 27 Prototypes: EATING SCOBY | Sphere dressing

332
Fig. 28 Prototypes: EATING SCOBY | Puffed supplements
Macro
The macro level refers to the project’s situatedness, it encourages to choose existing
context(s) and investigate existing production systems by including also with local actors and
stakeholders.
DIY materials and Material-Driven Design often aim at improving the use of resources to
promote circular dynamics. In the MMMM approach, it is encouraged to conduct inquiry
through desk and field research consulting reports, conducting interviews, questionnaires,
and talking with experts, producers, research centers, institutions, and municipal
administrations. Consulting and collaborating with people from social studies and humanities
would be strategic for assessing efficient tools for field research.
It is especially strategic to choose a circumscribed geographical area as a case study (such
as a region) and research its existing production and disposal systems. A special focus
should be given to agri-food industries, which discarded secondary products are often
suitable for microbial regeneration. In this way, the biomasses could be repurposed to obtain
valuable upcycled edible and non-edible substances. Situated inquiry facilitates the
identification of research gaps and opportunities. Moreover, it stimulates scenarios
generation based on existing realities. Also, integrated, interdependent, resilient strategies
could be ispired by other regional, national, and international case studies (glocalism). Doing
so provides an enhanced systemic understanding enabling to more effectively ground the
project.

333
Data, and flows can be represented with the aid of infographics, maps, or schemes (fig. 27).
These tools can be used as a base for reflections, discussions, brainstorming, speculations,
together with speculative design, design fiction, and fabulation methods. Preferable
scenarios (Dunne and Raby, 2013; Haraway, 2013) could be co-designed embedding
different scales and intentions: from effective implementation-driven collaborations with
stakeholders to mere speculation; from a single case of study to systemic proposals
suggesting new collaborations in existing networks; to versatile formulas that aim at fostering
a (g)local impact. Design scenarios are useful means to present the project to stakeholders
for testing feasibility and stimulate iterations, and/or for applying for additional R&D funding.
In the framework of all SCOBY projects, the chosen context was South Tyrol. While in From
Peel To Peel and EATING SCOBY the focus was on prposals that could be implemented
regionally, in InnoCell the intention was to develop tools, applications and formulas that could
be glocally applicable.
Especially, in From Peel To Peel a selection of local secondary products was made focusing
on locally-produced crops namely apples, potatoes, hops, beetroot, and grapes to envision
possible nourishing sources. The provincial administration responsible for regional waste
management was interviewed to understand flows within the system, and a plant for the
disposal of urban organic waste was visited. According to the data collected, two scenarios
were developed, one envisioning a SCOBY pilot-plant production within the existing facility
(fig. 29) while the other speculated an independent facility.
In the framework of the project EATING SCOBY, fifteen local food-processing industries were
contacted and asked to provide data about their secondary products. According to the
replies, data were collected in an overview table and a selection of four typologies was done
together with a partner microbiologist based on valuable substances still present in the
biomasses (Dr. Lorenza Conterno, Fermentation and Distillation Group, Laimburg Research
Centre). The selected nourishing sources were apples, raspberry, beetroot, and grapes.
SCOBY was grown from prepared liquid media and analyzed confirming its valuable food-
application potential. A system map including SCOBY as an actor (fig. 30) was designed
gathering stakeholders and institutions, social, ecologic, and economic factors suggesting
possible interactions and future collaborations with different scale and network possibilities
(fig. 31). To conclude, an impact circle map (method developed by Corinna Sy) was realized
to show possible dimensions of value creation (fig. 32).
Fig. 29 From Peel To Peel project | SCOBY pilot production plant (in red) integrated into existing waste disposal facility

334
Fig. 30 EATING SCOBY project | Eco-socio-economic stakeholders map

335
Fig. 31 EATING SCOBY project | Production scenarios scheme

336
Fig. 32 EATING SCOBY project | Impact circle (by Corinna Sy)
Meta
The Meta level differs to the other three levels because it refers to the theoretical and
practical knowledge that originates throughout the whole project. It likely becomes manifest
through a-posteriori reflections and elaborations. While the Micro, Mezzo and Macro focus on
case studies such as SCOBY, specific resources and situatedness, the Meta is about the
generated knowledge that discusses and/or enriches ways to research through design.
This level resonates with Manzini’s notion of Metadesign (2007) intended as the design of
methodologies to support designers in a variety of design processes; and with Wood’s
interpretation as a framework to stimulate paradigm change in society and in dealing with
design problems (2011). Especially, we refer to those principles, notions, and methods that
originate from the practice-based investigation and are ongoingly iterated also by continuous
discourses with stakeholders. The relevance of this newly generated knowledge goes
beyond the single disciplines and sets new bases for following/future projects. Setting the

337
Meta as a level to be aware of enables to recognize and elaborate generated knowledge to
enrich future R&D in the design process and approach, and their implications.
Within our ongoing research on SCOBY, the Meta level was especially elaborated during and
after project InnoCell.
First, by reflecting on the non-existence of waste in the microbial world we proposed a
production paradigm that substitutes ‘product and byproduct’ with ‘meta-product and co-
products’ (Cohen, et al. 2022b). Meta-product refers to a raw resource that is processed into
a variety of substances (co-products) that can either be ‘products’ themselves or initiate other
regenerative production process, coherently with the cradle-to-cradle philosophy
(McDonough and Braungart, 2010). This was inspired by the case of an apple that could be
processed to obtain the juice while the peels and cores could undergo SCOBY fermentation
generating multipurpose SCOBY mass, a fermented liquid (drink or vinegar), and very little
biomass that can be used as prebiotic fertilizer.
In addition, a project pattern was framed highlighting the potential of using different lenses
going from local to global and vice-versa to promote the potential of (g)local formulas
(Robertson, 1995) to stimulate local resilience. ‘Biocouture’ project by Suzanne Lee raised a
discourse about alternative sustainable production and inspired From Peel To Peel to focus
on a local scale while InnoCell brought the discourse on a (g)local level through the open-
source bioreactor and the development of SCOBY mattertypes. This pattern (fig. 33) could
be used also with other microorganisms and transform local case studies into (g)local
formulas that could benefit other local areas around the world.
Fig. 33 InnoCell project | Project pattern in Cohen et al. (2022)
From a practice-based design perspective, partnering with local experts and stakeholders
sets the base for future collaborations. In particular, cooperating with scientists enables to
acquire competencies that speeds up future processes going from the assessment or
microbial growth conditions to processing, modelling and prototyping.
This article, by introducing the term Mattertypes and the MMMM approach, is itself part of the
Meta-level of ongoing SCOBY research.
To conclude, this scale encourages elaborating on the gained knowledge to create a valuable
blueprint for supporting ongoing and future projects.

338
Conclusion
This article describes contributions in the matters of terminology and project approach that
were elaborated a-posteriori of ongoing practice-based interdisciplinary design research with
a focus on growing design.
In order to enrich and expand meanings and scopes attributed to material research and
activities of model making and prototyping, the new term ‘mattertype’ is introduced referring
to DIY material prototypes that embed human and other-than-human agencies. Moreover,
mattertypes are seen as entities interwoven in interdependent systems.
Based on six years of practice-based research, this manuscript proposes a multi-scale
perspective that aims at facilitating the planning and workflow of design projects involving
living matter and DIY materials. The Micro-Mezzo-Macro-Meta approach (MMMM) serves not
only as a support to develop theoretical and practical knowledge related to growing design;
but it also highlights the value of including interdisciplinary knowledge, stakeholders and
systemic prospects. As such, it encourages the inclusion of ecologic, social, and systemic
aspects to generate plausible scenarios in situated contexts.
With the illustrated examples, the intention is to suggest how microorganisms and their high
adaptability could be combined with unique local conditions to enhance interdependence and
cater for valuable strategies of resilience. Indeed, working with microbes stimulates
designers to consider multispecies agencies and to translate such principles across scales
towards regenerative processes.
We are confident that the MMMM approach will not only bolster our future endeavours, but
also inspire fellows to embrace multispecies design and non-anthropocentric approaches for
promoting sustainable and regenerative (g)local practices.
References
Ayala-Garcia, C. (2015). The Basis of Processes - Experimenting with Food to Re-Shape the
Industry Language. In: Proceedings of Cumulus Conference, The Virtuous Circle: Design
Culture and Experimentation. Milan: McGraw-Hill Education
Azeredo, H., Barud, H. S., Farinas, C. S., Vasconcellos, V. M., & Claro, A. M. (2019).
Bacterial cellulose as a raw material for food and food materials packaging applications.
Front Sustain Food Syst.
Bang, A. L., Krogh, P., Ludvigsen, M., & Markussen, T. (2012). The role of hypothesis in
constructive design research. In Proceedings of the Art of Research IV.
Bennett, J. (2010). Vibrant matter: A political ecology of things. Duke University Press.
Boer, L., & Donovan, J. (2012, June). Provotypes for participatory innovation. In Proceedings
of the designing interactive systems conference (pp. 388-397).
Braidotti, R. (1994). Nomadic subjects: Embodiment and sexual difference in contemporary
feminist theory. Columbia University Press.
Bridle, J. (2022). Ways of being: Beyond human intelligence. Penguin UK.
Bungay, H.R., Serafica, G.C. (1995) US5955326A, United States.

339
https://patents.google.com/patent/US5955326?oq=US5955326A. Accessed 28/04/23
Bungay, H. R., Serafica, G., & Mormino, R. (1997). Environmental implications of microbial
cellulose. In Studies in Environmental Science, 66, pp. 691-700
Camere, S., & Karana, E. (2017, June). Growing materials for product design. In Alive.
Active. Adaptive: Proceedings of International Conference on Experiential Knowledge and
Emerging Materials (EKSIG 2017) (pp. 101-115).
Chawla, P. R., Bajaj, I. B., Survase, S. A., & Singhal, R. S. (2009). Microbial cellulose:
fermentative production and applications. Food Technology & Biotechnology, 47(2), pp. 107–
124.
Cohen, Nitzan, Sicher, Emma and Uğur Yavuz, Seçil (2020), ‘Designing with microbial
cellulose to feed new biological cycles1’, International Journal of Food Design, 4:2, pp. 155–
171, doi: https://doi.org/10.1386/ijfd_00003_1
Cohen N., Sicher E., Merino I., Yavuz S.U. (2022)a An Open-Source Bioreactor Enhancing
Microbial Cellulose Production and Novel Sustainable substances. In: Scholz S.G., Howlett R.J.,
Setchi R. (eds) Sustainable Design and Manufacturing. KES-SDM 2021. Smart Innovation,
Systems and Technologies, vol 262. Springer, Singapore.https://doi.org/10.1007/978-981-16-6128-
0_8
Cohen N., Sicher E., Uğur Yavuz S. (2022)b From Agricultural Waste to Microbial Growth
and (G)Local Resilience. In: Duarte E., Rosa C. (eds) Developments in Design Research and
Practice. Senses 2019. Springer Series in Design and Innovation, vol 17. Springer, Cham.
https://doi.org/10.1007/978-3-030-86596-2_7
Design F(r)iction Lab (2023) https://designfrictionlab.com/ Last accessed 28/04/2023.
Dunne, A., & Raby, F. (2013). Speculative everything: design, fiction, and social dreaming.
MIT press.
Ferraris, S. D., & Barzilai, G. (2021). The evolving role of prototypes in design research: a
discussion on terms and meanings. In Cumulus Roma 2021 conference (pp. 1825-1839).
[Espoo]: Aalto University.
Haraway, D. J. (2013). SF: Science fiction, speculative fabulation, string figures, so far.
Houde, S., & Hill, C. (1997). What do prototypes prototype?. In Handbook of human-
computer interaction (pp. 367-381). North-Holland.
Hussain, Z., Sajjad, W., Khan, T., & Wahid, F. (2019). Production of bacterial cellulose from
industrial wastes: a review. Cellulose, 26(5), pp. 2895-2911.
Islam, M. U., Ullah, M. W., Khan, S., Shah, N., & Park, J. K. (2017). Strategies for cost-
effective and enhanced production of bacterial cellulose. International Journal of Biological
Macromolecules, 102, 1166-1173.
Karana, E., Barati, B., Rognoli, V., & Zeeuw Van Der Laan, A. (2015). Material driven design
(MDD): A method to design for material experiences.
Kurosumi, A., Sasaki, C., Yamashita, Y., & Nakamura, Y. (2009). Utilization of various fruit
juices as carbon source for production of bacterial cellulose by Acetobacter xylinum NBRC
13693. Carbohydrate Polymers, 76(2), 333-335.

340
Laurin, S. (2015) Kombucha Couture. [Website]. Retrieved from:
http://www.kombuchacouture.com/ Last accessed 28/04/23
Lee, S. (2011) Grow your own clothes. TED Talk. Retrieved from:
https://www.ted.com/talks/suzanne_lee_grow_your_own_clothes Last accessed 28/04/23
Manzini, Ezio. 2007. 'Designing Networks and Metadesign'. Attainable Utopias [online].
Available at http://attainable-utopias.org/tiki/ManziniMetadesignNotes. Last accessed
14/04/23
McDonough, W., & Braungart, M. (2010). Cradle to cradle: Remaking the way we make
things. North point press.
Mohammadshirazi, A., & Kalhor, E. B. (2016). Energy and cost analyses of kombucha
beverage production. Renewable and Sustainable Energy Reviews, 55, pp. 668-673.
Myers, W. (2012). Bio design. Museum of Modern Art.
Pajuelo, M. G., Bungay, H., Hogg, T., & Vasconcelos, I. (1997). Lowering costs of microbial
cellulose.
Parisi, S., Rognoli, V., & Sonneveld, M. (2017). Material Tinkering. An inspirational approach
for experiential learning and envisioning in product design education. The Design Journal,
20(sup1), S1167-S1184.
Piadozo,M.E.S. (2016). Nata de coco industry in the Philippines. In: Bacterial Nanocellulose:
From Biotechnology to Bio-Economy, pp. 215–229
Ribul, M. (2014). Recipes for Materials Activism. Retrieved from:
https://issuu.com/miriamribul/docs/miriam_ribul_recipes_for_material_a Last accessed
January 5, 2023
Rykkelid, E. (2016), ‘Growing products’, 16 May, Diploma project at Oslo School of
Architecture and Design, http://www.ellenrykkelid.com/portfolio/2910/. Last accessed
28/04/23
Robertson, R. (1995). Glocalization: Time-space and homogeneity-heterogeneity. Global
modernities, 2(1), 25-44.
Rognoli, V., & Ayala Garcia, C. (2018). Material activism. New hybrid scenarios between
design and technology. Cuadernos del Centro de Estudios en Diseño y Comunicación.
Ensayos, (70), 1-3.
Rognoli, V. (2010). A broad survey on expressive-sensorial characterization of materials for
design education.
Rognoli, V., & Ayala-Garcia, C. (2021). Defining the DIY-Materials approach. In Materials
Experience 2 (pp. 227-258). Butterworth-Heinemann.
Rognoli, V., Bianchini, M., Maffei, S., & Karana, E. (2015). DIY materials. Materials & Design,
86, 692-702.
Rognoli, V.; Levi, M. (2005). Materiali per il design. Espressività e sensorialità. Milano:
Polipress.
Rognoli, V., & Parisi, S. (2021). Material Tinkering and Creativity. Retrieved from:

341
https://re.public.polimi.it/retrieve/ e0c31c10-c583-4599-e053-1705fe0aef77/
Rognoli%201_MaDe-Book.pdf. Last accessed October 13, 2022
Rognoli, V., Pollini, B., & Alessandrini, L. (2021). Design materials for the transition toward
post-Anthropocene. In FROM HUMAN-CENTERED TO MORE-THAN-HUMAN DESIGN
Exploring the transition (pp. 101-130). Franco Angeli International.
Schubert, J., Ugur Yavuz, S., & Fuad-Luke, A. (2021) Procedural artifacts for design inquiry,
Disegno Industriale Industrial Design, diid, #71. ISBN 9788832080506, pp.122-129
Serra, D. O., & Hengge, R. (2019). Cellulose in bacterial biofilms. Extracellular Sugar-Based
Biopolymers Matrices, 355-392.
Shi, Z., Zhang, Y., Phillips, G.O., Yang, G.(2014) Utilization of bacterial cellulose in food.
Food Hydrocolloids 35, pp. 539–554
Sicher, E. (2017), ‘From Peel to Peel: An experimental design approach for packaging’, BA thesis,
Bozen-Bolzano: UNIBZ, shorturl.at/rSV47. Accessed 14 April 2023.
Sicher, E. (2022), ‘EATING SCOBY A material-driven approach for symbiotic nutrition and
glocal resilience’, MA thesis, Bozen-Bolzano: UNIBZ, [unpublished].
Sterling, B., (2012). Bruce Sterling Explains the Intriguing New Concept of Design Fiction
(Interview by Torie Bosch). Slate. Available at:
http://www.slate.com/blogs/future_tense/2012/03/02/bruce_sterling_on_design_fictions_.html
[Accessed
Villarreal-Soto, S. A., Beaufort, S., Bouajila, J., Souchard, J. P., & Taillandier, P. (2018).
Understanding kombucha tea fermentation: a review. Journal of food science, 83(3), pp. 580-
588.
Vitas, J., Popović, L., Cakarevic, J., Malbaša, R., Vukmanović, S. (2020) In vitro assessment
of bioaccessibility of the antioxidant activity of kombucha beverages after gastric and
intestinal digestion. Food and Feed Research, 47(1), pp. 33-42
Wensveen, S., & Matthews, B. (2014). Prototypes and prototyping in design research. In The
routledge companion to design research (pp. 262-276). Routledge.
Wood, J. (2011). Languaging change from within; can we metadesign biodiversity?. Journal of
Science and Innovation, 1(4), 27-31.
Zhou, Z., Brück, V., & Holzbach, M. (2022). A material-centric approach in non-
anthropocentric design.
Emma Sicher
Emma Sicher is a transdisciplinary designer who investigates materials and foods
made with microorganisms. Her education took place at the Faculty of Design and
Art in Bozen/Bolzano, where she carried out research on SCOBY (Symbiotic
Culture of Bacteria and Yeasts) during her BA and as a research assistant at the
Design F(r)iction Lab. Projects she worked on have been exhibited at the Vitra

342
Design Museum, V&A Dundee, maat, and the ADI Design Museum. Recently she
collaborated with the Laimburg Research Centre in South Tyrol by initiating a project
on edible mycelium (Tempeh) and its local eco-social potential. With a focus on
materiality, the semiotics of food, and system dynamics Sicher investigates how
microorganisms can contribute to local resilience, themes she also elaborated on in
the TEDx Bolzano 2023 edition. She is currently a PhD candidate at the HfG
Offenbach and affiliated as a research assistant with the Matters of Activity Cluster
of Excellence at the Humboldt University of Berlin. By focusing on human-plant-
microbe relationships by interweaving design, microbiology, and cultural
anthropology she is elaborating on the concept of Multispecies Matter as a holistic
strategy for local and global resilience.
Seçil Uğur Yavuz
Seçil Uğur Yavuz is an associate professor at the Faculty of Design and Art, Free
University of Bozen-Bolzano. She completed a Ph.D. in design at Politecnico di
Milano and has a background in industrial design and product, service, system
design. Her research spans the analogue and digital worlds to create tangible and
embodied interactions, alternative modes of production and new types of hybrid
materials (e.g. e-textiles). Through participatory design and co-design methods, her
research takes place in contexts such as Fablab, makerspaces, schools and
museums, engaging with children, makers and crafters.
Nitzan Cohen
After graduating from the Design Academy Eindhoven and working with Konstantin
Grcic for several years, Cohen established his own design practice before turning to
academia and design research. Cohen held the Chair for Industrial and System
Design at HBK Saarbrücken and was an adjunct Professor at the Master for Space
& Communication at the HEAD, Geneva. Cohen is currently a professor of product
design and the Dean of the Faculty of Design and Art, at the Free University of
Bozen-Bolzano. He founded the ‘Design Friction Lab’, a multidisciplinary Research
Lab and Design Studio at the intersection of science and the industry, of reality,
innovation, and vision. Looking for innovative sustainable solutions for an industrial
and societal transformation. The Lab currently develops projects focusing on crafted
products, electronics, and DIY culture, distributed manufacturing and open-source
production, nano-electronics and biodegradable sensors, growing materials,
alternative materials, and the development of circular design and production
technologies. Cohen won several international design awards and his work is part of
the most renowned design collections worldwide.