Bio-organic breast pump

'Fluenci' is an outstanding design project, where the underlying design philosophy, project approach, and design results are all very innovative and beautiful. The project was performed in 2010 by Jaap Knoester as part of his master graduation from Eindhoven University of Technology, and  in collaboration with Philips Design.

The vision of the project was to create a new type of breast feeding pump, that fits the intimate experience better than current models, which feel very mechanical and functional. Several interviews were done with mothers which showed that current breast pumps often make them feel exposed, or even felt degrading. It was also found that the so-called 'let-down' reflex, which triggers the milk flow, is stimulated the most when the mother can see, hear, smell and feel the warmth of her baby.

These stimuli are incorporated into the design of the Fluenci breast pump through a heated breastshield with electric thermofoils, an organic form that resembles the back of the baby's head and neck and allows for cradling, as well as sounds of the baby played by the remote pump unit. Because milk flow is most stimulated when suckling starts out fast and then slows down, this behavior was also incorporated into the breast pump. The device has a button on top which the mother can tap in order to adjust the suckling frequency.

User tests showed that this interaction for adjusting the suckling frequency should be more direct and precise. While a subtle and direct interaction such as the suggested tapping might seem beautiful, I think that the main reason it is not preferred over, say, a slider or control knob, is that it needs too much conscious attention from the user. It requires a felt connection to the device, in other words, the user needs to mentally get into a rhythm and then convey this rhythm in an embodied way. But such a felt connection is subordinate to the felt connection with the baby. A baby's suckling can obviously not be controlled by tapping on his or her head, so it is necessarily a non-anthropomorphic element, and probably it is best to design it as such - as part of the technical device, not the intimate experience. In this case it is probably best to leave the age-old ritual of breastfeeding alone and minimize other subrituals in terms of cognitive and physical load.

Overall, the test subjects much appreciated the device. Knoester explains in a paper written for the DeSForM 2012 conference called 'Fluenci: The expression of expressing' that the underlying design philosophy responsible for the success is based on a new type of anthropomorphic design that does not fit well into current classifications of anthropomorphic design, because it does not fully mimic human form, gesture, social roles or intentionality. Rather, it is more subtly designed with human qualities so that the user can interact with the device as if it were human. Knoester calls this Embodied Anthropomorphic Form.

Now, I think we need to pay some attention to this, because to me it is an extremely beautiful and powerful way to design products. It avoids the uncanny valley by not directly mimicking existing biological forms, and it avoids a too technical, robotic, distant look. I think that deep down, it is exactly where humans want to be in terms of interacting with their technological environment, and that it can dissolve such widespread modern-day feelings of alienation and dissociation. I think that we need to extend this approach into a design approach that can be used for all products, not just ones simulating human to human interaction. We need to learn to design products so that humans are invited to interact with them as if they were sentient beings in general, imbued with the same cosmic life force, you could say, that we humans feel. Then technological products would not feel distant and complex anymore, but we can accept their complexity because we feel the same life in them as we feel inside of us, so on a more basic level there would be a feeling of equality which can them give rise to empathy, acceptance, understanding, even love or oneness.

In the past, I have quite casually suggested the term 'biological modernism' for this design approach, because I believe that we should design according to modernist principles but now extended not just to minimize and beautify static qualities such as form and proportion, but also dynamic, alive qualities of interaction. I think though, that modernistic design could be more like a subclass of this kind of biological design, because it would allow people to also be less minimal (or even extremely extravagant) in case they prefer such an approach. It's just that personally I would advocate minimalism because it forces designers to use their creativity and intellect more fully in order to condense a lot of complexity into elegant design solutions, and this to me is what creates beauty. But of course nature does also not always seem very intelligent, and often extremely messy. The notions that nature is wild, nasty and chaotic on the one hand, and mind-blowingly beautiful on the other hand, are two opposite images and as always, neither is fully true. So now I would like to suggest a new approach, in the broadest sense based on encapsulating the biological lifeforce in technological devices, not just in terms of form such as organic designers such as Luigi Colani and Ross Lovegrove have been doing with their corresponding design philosophies of 'Biodesign' and 'Organic Essentialism', but extending this also towards the embodied relation with human beings. Therefore I would like to suggest the term 'Embodied Biodesign'. In case this sets you thinking and you come up with a better name, suggestions are welcome!

Scripted spatial complexity

Complexity is the new minimalism, and more is the new less. Many mature minds today have gotten reasonably used to the complexity and interconnectedness of the world, and we no longer need our technological creations to exude simplicity and purity so that we can let our mind have some breathing space. We are more and more skilled at having our senses flooded while mentally staying at a comfortable level. Now we are ready to bring an intelligent complexity into the physical environment we live in.

More and more, products, graphics, and architecture is created that is fueled by the urge for created complexity. Often, these things borrow heavily from nature, which shows through in the outer form. Those things can impress us because they are new, and they look natural while being man-made. But once you're over that shock it tends to seem very natural that we would build things that way. The machine age we created after the second industrial revolution allowed humanity to quickly set up healthy, thriving, functional societies, but they tore us away from nature. In the sixties and seventies we massively returned to nature, and now we are integrating the world of nature and the world of the machine. We are now getting used to that new way of building, and we need lots of exploration.

One of the pioneers in this area who are making this into a career is Marc Fornes, and it is his work that triggered me to write a bit about complexity. He uses scripts to generate architectural forms, and has been displaying these constructions in the form of small spaces that people can walk through. It is interesting that Marc Fornes is creating his own design language through his work, and is not simply mimicking nature or strictly using natural principles. Instead, he seems to be mixing natural elements and human preferences, for example in his material use and form language.

Now it's time for designers to follow people like Marc Fornes, and bring in complexity in forms where we can, and even more so when we can intelligently merge form with function this way. But also visual complexity alone can greatly elevate people's experiences of products in that it takes them out of their minds, and into the world again.

The beauty of complexity

Kas Oosterhuis takes architecture to the next level as it becomes complex, parametric, organic, emotive, and alive. I remember reading his book 'Architecture goes Wild' back in the 2000's, and it started triggering a quantum leap in my own thinking and creativity. His recent talk on TEDx Delft is basically a recap of that book, while he shows some new projects as manifestations of his view on design and development. Watch it here:

Biological architecture

Here's a little collection of conceptual architecture that shows a shift towards holistic design thinking on both the macro- and the microscale. This kind of work definitely brings a new aesthetic into the world while opening up our minds to the idea that what we are creating as humans might not be that far off in quality from what the natural world has been creating all those millions of years, even that maybe our work lies in line with that process itself. And whereas surely this approach to design is not what will 'save humanity' as it might account mostly for our physical needs, but not for our complete scope of psychical needs, it surely is a wonderful step in the ascent of humankind.



Vincent Callebaut has created a far-future concept for airships fueled by a specific type of seaweed. These organisms would produce not oxygen but dihydrogen through photosynthesis, hence the name of the concept 'Hydrogenase'. Vincent envisions these 400-meter tall ships to not only function as passenger transportation, but also as floating buildings such as hospitals. They would be able to move at 175km/h by means of twenty wind propellors. The ships would furthermore be provided with an intelligent skin that incorporates nano-technologies to make it self-cleaning and self-repairing.



Yheu-Shen Chua has re-envisioned the Hoover dam to be a highly organic and open structure that actually makes transparent the waterflow and the ecology within the water. It would incorporate a bridge, a gallery, and a vertical aquarium.




If it's up to the French guys who created the 'Flat Tower' concept, a global-minded humanity makes no big deal of who owns what piece of land. Instead of building vertically to create more living spaces in the dense urban environment, they take a different approach: open and organic horizontal structures that dome the underlying cityscape. This might be very interesting for hot parts of the world, where such a structure could convert a large amount of sunlight into energy, and provide the city with more shadow area.



The concept skyscraper 'Hydra' is envisioned to provide energy to its inhabitants by means of a lightweight grapheme exoskeleton. This structure would attract lightning bolts which could then charge several mega-batteries.




Finally, here's a concept from the nineties by Eugene Tsui for a sustainable city built in the sea. Of special interest is the structure of the building, which is modeled after the human spine in order to direct and disperse stresses and strains. It would also have a "Living Machine" module that employs marine organisms to transform sea water into drinking water.

By the way, there's an excellent Zaha exhibition in Paris until October 30th. You can find it in a special pavilion just outside the Institut du Monde Arabe. It shows some of Zaha's projects, some experimental work, her working process and underlying design philosophy. I've visited myself and overall, it gives you a good feel of what organic and bio-inspired architecture can become.

The mood of biological modernism

The creative genius of Silke Sieler here has done a magnificent job if he intended to abstractly capture the mood of what I call 'biological modernism', a new paradigm for technology development based on how natural ecologies perfectly blend together form, interaction, and function.



The movie brought about in me a feeling of being encapsulated inside a purified future cell where perfect harmony and order rules in perfect conjunction with the chaos and messiness of natural systems. In the trust, humility and peace this can generate then, only pure, embodied being could ultimately remain.