Within this graduation project, the qualities and potential of bioluminescent micro-algae will be explored with the use of the Material Driven Design Method, as described by Karana et al.(2015). This project aims to provide designers first insights in the behaviour of the bioluminescent algae by looking at the relation between movement and light. The first step will be to understand the different factors that influence the growth of the organisms, in order to be able to create a sustainable living environment that allows us to effectively maintain and grow the organisms. Afterwards, reflecting upon the growing process and creating general guidelines for effectively growing material. Next, the response of the material in regards to different types of stimuli was explored and three types of agitation forms (rotation, pulse and vibration) were evaluated; providing first insights in how the type of stimuli affects the characteristics of the light, with a focus on changes in total light output over time, differences in experiential qualities and boundaries of the material. Based upon the questions that resulted from the exploration phase, a research structure was defined. Within the research, key insight in the flash characteristics and overall behaviour of the light, with regards the temporal form, textural qualities and spatial distribution of the light, will be analysed; taking the first steps in describing the complex relation between movement and experiential qualities of the light. In the end, providing an overview of factors that can be adjusted to alter the flash characteristics and general behaviour of the light. The project is concluded with the design of a research object, in the form of a small scale interactive exhibition; displaying the findings of the research phase and sparking the interest of other designers; stimulating further research and promoting the use of bioluminescent materials.

Integrating living organisms in design could offer alternative and more sustainable ways of producing and using products. The use of bioluminescent organisms in design is a relatively new and unknown subject. Because of this, interested designers have a lot of homework to do before starting the actual design process. Successfully changing the organisms habitat from nature to a user’s home and provoking the desired luminescence depends on specific biological and environmental requirements. The aim of this graduation project is to provide interested designers with guidelines on the cultivation and perpetuation of bioluminescent organisms when integrated into a consumer product. The first step is to gather information on two bioluminescent organisms, P. fusiformis and P. phosphoreum, in an extensive literature research. This results in design insights which compare both organisms on the challenges and potential when integrated in a consumer product. The second step continues with the most promising organism, P. phosphoreum. This organism is used within experiments further researching the bioluminescent and perpetuation characteristics, relating them to usage and storage possibilities. The experiment results are translated into design insights. The third step is to combine the design insights from both the literature research and the conducted experiments into guidelines which will help and inspire interested designers in the creation of products with integrated bioluminescent organisms. The guidelines are applied within a future scenario which will act as an example on how P. phosphoreum could be integrated within a design.

Forestwise wanted a suitable way to serve their Arenga Rainforest Sugar in Dutch cafés. This brown sugar comes from Indonesia and is a tasty, healthy and sustainable alternative to regular sugar. It is wild-harvested from the Arenga palm tree, which grows naturally inside the jungle. The Arenga sugar provides the local farmers with an income from their existing forests and motivates them to halt deforestation and protect biodiversity. This background story should be communicated to end-consumers. The first analysis phase consists of research about the sugar’s source, the context of use, and the sugar’s characteristics. Applying the Material Driven Design method stimulates to not take the granulated, brown Arenga sugar as given, but play with texture, shape and process to find a more suitable way to serve it. Synthesizing the insights into a Material Experience Vision and Design Criteria leads to a variety of ideas, categorised into 9 design directions. From those, 3 concepts are worked out. The stencil shaker concept makes use of the dark colour of the sugar and puts a surprise illustration, depicting the rainforest’s biodiversity, on the milk foam of the café guest’s drink. The rainforest globe concept is a decorative, round sugar pot from glass, depicting the eco-system of the Arenga tree and the rainforest. The selected concept of the sugar block grater lets the user transform traditional, hard sugar blocks into flakes. A more specific vision is defined to develop this concept. The metaphor of a opening flower bud describes the desired user experience. The sugar should be perceived as natural and special. It is furthermore desired to let the café guests explore the background story of the sugar and get actively involved in it, feeling curiosity, pleasant surprise and virtuousness. The final design proposal is a grater made out of bamboo, which is placed on the café’s tables. It is filled with cylindrical sugar blocks with chocolate-like texture. The café guest can grate sugar flakes by rotating the base of the grater. A mechanism turns and pushes the sugar blocks against a knife with two blades, shaving off a layered spiral of flakes. The sugar comes out at the top of the grater in the shape of a flower. The user can observe the sugar “growing” inside an illustration of the rainforest, which is engraved in the bamboo around. This lets the user experience how the sugar naturally grows inside the biodiverse rainforest in Indonesia, contrary to being cultivated in monoculture plantations. The background story of the sugar is illustrated with engravings on the outside of the greater, showing how the sugar is wild-harvested and processed. The café guests become part of the process by grating their own sugar flakes to sweeten their drinks. This drives a sustainable system of rainforest and local farmers. The sugar is presented as special and natural, in an attractive and novel way. The concept is tested with a working prototype and evaluated by users and cafés.

The materials we encounter in our every day lives already extend beyond the traditional materials of wood, metal, ceramics and glass. The characteristics and behavior of materials and material composites are continuously being tweaked. The introduction of new materials that can respond to inputs from the environment has brought about a new movement for material development and interaction design: computational composites. A computational composite is capable of sensing inputs from the environment, processing and controlling the consequent expression or formation of the material. The aim of the thesis was two-fold: to design and develop a soft bodied mechanism inspired by the movement of a caterpillar, using a Shape Memory Alloy-based (SMAs) composite, and to design material concepts based on the qualities of the composite. This was an explorative project, investigating the application of a bio-inspired approach and the Material Driven Design (MDD) approach to the development of a moving material. The first phase of the project focused on uncovering the technical aspects of a SMA-based composites and its relation to a computational composite. To understand caterpillar locomotion, a thorough study on its anatomy and locomotion strategies was performed. A qualitative study on how designers interpret caterpillar-like motion lead to four interesting movements, which were further developed in moving SMA-based composites from silicone and 4D printed textile. One SMA-based composite was selected for further improvement of the mechanism to be capable of translational caterpillar-like motion. The mechanism can also be interpreted and applied in other ways, and thus the experiential characteristics of the material were uncovered to define a material experience vision for further applications. Through a creative session and ideation phase three material concepts were proposed, suited for three types of user input on the computational composite: none, indirect and direct. The ultimate purpose for the material would be to sensitize people to the idea of a world where materials move from passive objects to active elements in our daily lives. It is recommended to do more research on the composite and to apply the materials experience vision to applications beyond every day objects and into the more innovative field of computer interface design and human-material interaction.

This master’s thesis is a collaboration between DSM Dyneema and the Circular Design Lab, a part of the Faculty of Industrial Design Engineering at the Delft University of Technology. DSM Dyneema is a business group within the large Dutch multinational DSM N.V. They looking into means of making their business practice more suited to a future in a circular economy. Like many materials producers, these efforts start within their own walls; looking for ways to re-purpose production residuals. Aside from disposal costs, the motivation for this project was to determine more sustainable mindset in a production of materials with a non-renewable origin. Dyneema® is a high-performance synthetic fibre with exceptional strength for its weight. It also had many other favorable properties. It is however challenging to recycle in existing processes. Similarly, the energy invested into the material make it a potentially high value residual. Means of leveraging inherent value were explored in this thesis.The material landscape provides a plethora of (re-)processing possibilities. A selection was explored in order to determine feasibility of implementation within current technological and economic bounds. This offered insights into the readiness of these producers to work in collaboration with DSM Dyneema in a circular value chain. Considering how residual materials to be collected, re-used, re-purposed, etcetera.From the standpoint of product design this project provided the unique opportunity to develop user value from the starting point of the material itself. In terms of the circular economy - where goals are expressed in terms of utility and value retention of materials- this project provided a unique opportunity in product design. The Material Driven Design method (Karana et al.,2015) was used as a framework to guide the search for user value through material experience. Where traditionally product design is lead by a user problem and solutions are embodied with appropriate materials and processes, this method allowed this thinking to be inverted and guided the design to consider the various aspects of material experience before designing a product. A material experience vision is defined and guides the design of a final product that encompasses experiential/technical properties of the material and accounts for circular product considerations. A full circle; from production residuals to a meaningful application and a design that accounts for product life and the responsible re-collection of materials to put them to use in future.