Adapt Theory

Abstract Yeo 1
Adapt Theory
The extraction of graphic design concepts, through the study of natural  
adaptations that take place in the world of flora and fauna.
Fredrik Yeo Jia Sheng

(14587)
(BADC6C)
Yasser Bin Suratman
LASALLE College of the Arts

BA (Hons) Design Communication
(Specialism)
AY2014/2015
Abstract Yeo 2
Abstract
Biomimicry is a discipline where a species mimics another species with the intention of inheriting a
biological or behaviour advantage. In the case of humans, or more accurately, homo sapiens, our mimicry is
an aid to what makes the perfect sense of living effectively. A conscious need for humans to learn from what
it sees, and hears, and touches; and an absorbing of it’s senses—in the multitude of environments and
situations it resides in. A conscious need to investigate systems from a holistic point of view. In biomimicry,
the study of nature dwarfs human inventions, even making certain inventions of ours obsolete, when in
comparison with the species of another with much better technology. Biomimicry sends a strong statement:
should we be interested in studying a new form of technology, nature would probably, and should be the
best area to start.

Introduction 01 Yeo 3
Chapter 01: Introduction
Background
"Biomimicry introduces an era based not on what we can extract from organisms and their
ecosystems, but on what we can learn from them. This approach differs greatly from bioutilization, which
entails harvesting a product or producer, e.g. cutting wood for floors, wildcrafting medicinal plants. It is also
distinctly different than bio-assisted technologies, which involve domesticating an organism to accomplish a
function, e.g., bacterial purification of water, cows bred to produce milk. Instead of harvesting or
domesticating, biomimics consult organisms; they are inspired by an idea, be it a physical blueprint, a
process step in a chemical reaction, or an ecosystem principle such as nutrient cycling. Borrowing an idea is
like copying a picture-the original image can remain to inspire others." as explained by Janine Benyus (n.d),
the author of 'Biomimicry, Innovations inspired by Nature'.
Biomimicry seeks to innovate aspects of human life through the study of biological functions in
nature. This take explores advance techniques in nature that parallels the professional requirements of
humanhood. Through the study, we scrutinise natures organic acquiring and disposing of (biological and
habitual) traits in an enhancement pursuit. By justifying the reasons flora and fauna evolved to solve
problems, we are capable of collecting that data for future (science and art) expeditions.
A good example of biomimicry includes mimicking of how termites regulate the temperature of their
nests: "Perhaps the most famous example of biomimicry when it comes to heating and cooling is ventilation
inspired by termites. A few years ago, scientists observed that big termite mounds in Africa stay remarkably
cool inside, even in blistering heat. The insects accomplish that feat with a clever system of air pockets,
which drive natural ventilation through convection. Architect Mick Pearce and engineering firm Arup
borrowed that idea to build Eastgate Centre, a large office and shopping center in Zimbabwe that is cooled
with the outside air. The system uses only 10 percent as much energy as conventional air-conditioning to
drive fans that keep the air circulating." Brian Clark Howard (2003)
Design; a jungle; and an ocean; all exist within a group lead by a common theme, their ever
changing properties. Much of design’s works can be found in nature to put it simply. Take kerning in
typography, where fundamentals of it lies within the relationship enhancement of two characters (Jim Felici,
n.d), bring it back to nature, and a general natural replication of that ideology surfaces in symbiotic bio-
systems, with two organisms relying on one another for survival.
Bring it to a humanistic surface, we see that bonding trait reveal itself in human genetics, as
evidenced in evolutionary psychology (an approach in the social and natural sciences that examines
psychological structure from a modern evolutionary perspective). The study of genetic bonding, reveals the
bonding in humans as essential traits to our survival. “The human species is rather unusual among
mammals in that we form long-lasting selective social bonds between mates in addition to the parent-child
bond resulting in the nuclear family” (Larry J. Young n.d). The sense of bonding, that we emote is a parallel
to our subconscious need for things to be in a healthy balance as can be reflected in the balance theory by
Fritz Heider, or by the Dissonance Theory by Leon Fester; as explained by Dr. C. George Boeree (n.d) in an
article of his—and how it is subconscious or consciously adapted to graphic design, is but one aspect of
such adaptations of mutualism in nature. How we can borrow examples of natural systems that work well
when transferred over to a synthetic form.
This study seeks to discover more of such examples of comparisons between nature and graphic
design, using an organism's methods as an influence to another; which as an objective of this paper, leads to
the conscious study of biology by humans to aid design.

Aims of the Research
"Ideas come from looking at one thing and seeing another”,Saul Bass educates in the animated
documentary Why Humans Create (1968). The idea of borrowing nature's design parallels that line.
The paper resultantly focuses on the adaptive ability of nature and the materialisation of such adaptivity in
retaining resilience in spite of fluctuating environments and habitats. Drawing that concept, understanding
biology, and animal behavioural patterns; we seek to place that discipline into design.
There are limitations to design, and while humans attempts on solution lies with technological
advancements, nature tends to be more subtle when dealing with such obstacles. Nature thrives upon
limitations, and within these limitations come natural selection; a key ingredient in nature’s manner of
solution discovery. The paper seeks to understand how different organisms take different steps to overcome
the proclaimed hurdles, and by doing so establish key concepts in nature that aids the concept of 'design
thinking'. To borrow the idea of parasitic design establishments as an example; a known architectural style,
know as ‘Parasitic Architecture’ claims existing structures, and establishes a parasitic form that latches to its
structural host. Architecture designs by architect James Christian (Jessica Mairs 2014), much like climber
plants, utilise unused space, while building a functional structure, all with less labor cost. This also increases
mobility should a detachment be required. While parasitic, the structure is made with an intended method of
space saving in a continuous populating world—eloquently rejecting the stigma of malicious parasites in
nature, and its immature judgement, when it comes to its effectiveness on designs.
Graffiti, another example of a two dimensional parasitic form of design. The using of the street as a
canvas to communicate, a style that leaves lesser carbon foot prints, while increasing the locality of design.
The establishment of such a concept reduces computability issues that happens with design and their
mediums. Ambient advertising has clearly used such replication of parasitic design on campaigns effectively
(Ryan Lum 2014). Such theories and methodologies are not restricted to sight based receptive methods.
Other senses such as hearing, taste, touch can too be explored, as conclusive with nature’s  
multi-sensory display.
Other then a singular design exploration, the research seeks secondarily, to establish design growth
and sustainability. Design trends change. Design in year 1970, in comparison to the 1980s are very different
in styles and mindsets (Mr Keedy 1998). Evidently, design theories change when new findings are made
either scientific or socially. This fact strengthens our need to study the science behind future proofing design.
In theory, sustainability can be seen from the small to big, growth mentality of organisms (Steven Vogel 1998
p. 23) for that concept is required for gradual growth of organisms without a loss of function. This imposes
severe geometrical limitations, which results in natures unique manner of building from ground up, and in an
even progressive manner. Much of our subcellular structures are helical for such a reason. Not because it is
essentially better, but because it is extremely easy to build; resulting in easily structuring a body using
preexisting information. (Steven Vogel 1998 p. 26) This parallels design's methods of substantial growth, to
design in building blocks that allow adding, without the need to take everything apart.
Significance of the Study
The research focuses on possibilities of human innovation based on observations from nature.
Instead of simply viewing design with a human centric approach, this research seeks to question design, with
a different biological form in mind and on how adaptations work for organisms in an adjusting aid to an
environment. An organism's lifestyle and anatomy works as a method to survive, and many times, this form
is tuned to be as efficient as possible; something that humans attempt, reasonably machines that makes
tasks easier for the humanised body.
Design conventionally, is driven by technology, and while many see technology as a manmade
innovation; it is often forgotten that ‘organic technology’ such as phytotechnology (Phytotechnologies n.d)
resulted first from the natural selective nature of evolution, and its gradual manipulations that leads to
environmental survival competency. (Steven Vogel 1998 p. 16). Highlighting active hyperawareness,
designers should view nature differently. Instead of seeing a caterpillar move from branch to branch on a tree
as part of the unspecific background, designers should see a new method of movement that allows traveling
across uneven surfaces. Instead of seeing the tree move towards the sunlight as a survival routine,
designers should now see it as a method of mechanical reach, based on an artificial incentive.
An example of such observational application can be seen used by Theo Jansen, a Dutch artist; and
his creations, where he uses floral and fauna behaviour to aid his art pieces. By studying nature and
engineering, he created creatures capable of moving themselves simply via wind power, aided with
locomotion that resembles walking. These creatures were able to 'live their own lives' and adapt to their
surroundings, Jansen explains the capabilities of his more advanced models 'Ted Talk - Theo Jansen: My
creations, a new life' (2007).
There is a difference in nature and human inventions. Nature does not design. A design requires a
designer. In evolution, change happens as a blind result of selection for whatever improves reproductive
success (Steven Vogel 1998 p. 22). There are limitations to evolutionary change. Nature has a history, it
follows its previous model religiously, while humans are able to start with a clean slate. As nature is
conservative. A mechanism that works will be reused till it is no longer practical. For nature does not
redesigning unnecessarily. Looking at this two school of thoughts. A designer has the ability to choose,
modify, and apply when necessary, in a design that looks at both nature and man.
Key Research Inquiry
This research studies the systematic steps graphic design takes in order to conceptualise graphically
while in parallel with the biomimicry ideology. While biomimicry is widely used in the world, there is a certain
complexity in achieving the same form of biomimicry seen in eg. architecture or product design, and the
replication of it in graphic design needs polishing in order to utilise effectively. Much of these restrictions are
due to the two dimensionality of graphic design, and the lack of an easy physical mimic. The research sets to
study these forms of mimicry and seek a curated acknowledgement of biomimicry. One that allows design to
flow in a nonconventional manner.

Gaps in the literature Review
While much of the literature mentions a rather fruitful take on biomimicry and on the use of it to
improve human ideation, there is a huge focus of it on engineering and the sciences, and that while fruitful in
understand the concept of biomimicry serves little to making biomimicry a clear discipline to graphic
designers. It seems very new; from the understanding of the biomimetic approach from designers, during the
research for this paper, much of such biology related projects are mostly bioutilisation firstly, then secondarily
if so, very surface mimicry. There is a lack in scientific depth in the graphic design industry, for proper
extraction of biological knowledge.

Methodology 02 Yeo 9
Chapter 02: Methodology
Participants
There would be four groups of participants in this research, due to the complexity of the subject. The
need to gather knowledge from individuals who are fluent in biomimicry graphic design; the need to gather
insights from designers without the knowledge of biomimicry; and the need to interview industry leaders—
designers from disciplines in and outside of graphic design, such as eg. interior; architecture; product; and
lastly biologist of various specialisations. The age of these recipients is negligible, for rather then looking at
characteristics based on age, the paper is looking at information based on experience, and a 20 year old
can, have as much experience as one much older.
Research instruments
The paper seeks the use of two forms of research, the use of surveys for general designers, for a
quantitative look on more minute aspects on the usability of biomimicry in a generalised design field; and
qualitative interviews with graphic designers with application of biomimicry; biologist; and also design
veterans from various fields of design, for a more intricate study on the applications of their craft, and if
biomimicry comes along with their take on work.
Measures
The surveys are created with Google Forms due to the ease of it in collating and presenting
information. The survey manages the affirmation for what my research seeks, to clarify the capacity when it
comes to biomimetic knowledge of the average designer. It too seeks the applicability of it to the average
designer, and its practicality in their work. The questions set in this survey are carefully crafted to prevent the
possibility of either a bias or leading question; while consciously set to prevent the question being too open
ended or vague. The designers are allowed choice in agreeing, and disagreeing, before stating their reasons
for selecting the answer. The surveys are too mixed with a variant of Dichotomous, Semantic Differential
Scales, and Open Ended questions, each crafted to establish a collative data that is non bias, yet still
retaining the ability to effectively collect data.

Methodology 02 Yeo 10
For the interviews, there are three different schools of thoughts that I need to validate. I seek to talk
to designers who use biomimicry as a tool. Designers who are used to the knowledge of mimicking nature;
for these are the tried and tested examples biomimicry is capable of. The research seeks to understand the
differences in design application from a designer with a knowledge of biomimetics and one who is absent of
that knowledge. Questioning biologist sets next in my line of interviews, due to the concentrate knowledge
they have on biology, something that designers might lack. The interviews are structured differently. They
would be more personal, for such a move seeks an understanding of the life of biologist. Via their concrete
knowledge of the natural world, this interview seeks a crucial view on how the world works, holistically, rather
then in a human centric view. These questions will inquire a biologist’s change in perception and physical
influences due to knowledge in biology.
The final piece of the puzzle stands with the interviewing of design veterans, due to a crucial take on
what is required in the design industry. This take on the study rules less in design conceptualisation, and
more on the market requirements of design, as not everything conceptualised via biomimicry has a market
value. The study questions the importance of multi-disciplinary in design when placed in a commercial
environment.
The questions in the interview are stated in a non bias manner, and most of the questions are left
open ended, due to the collective form of information needed for it. Other then asking questions about
adaptivity, the interview will question their knowledge on biomimicry, for a proper assessment of their
knowledge of it, and its applicability to my research. The interviews are sent to designers and biologist from
various institutions, jobs, locations, and nationality for a non bias approach to the subject of biomimicry.
In the concern for ethical appropriateness; for interviews, the selected interviewees are interviewed in a
neutral environment without influences either via objects, or people that might sway their take on the subject
(for individuals that agree to a verbal interview). The situation is replicated for email interviewees via the
verbal phrasing of the interview questions sent.

Discussion 03 Yeo 11
Chapter 03: Discussion
Survey Responses from Designers
What is your gender?
Female (12)
55%
Male (10)
45%
What form of designer are you?
15
Interior Lingerie Illustrator Menswear Communica- Advertiser Graphic

Designer Designer Fashion tions Designer Designer
Designer
Have you heard of biomimicry prior to this survey?
No (14)
64%
Yes (8)
36%
Have you attempted the application of biomimicry in your designs? Why?
No (16)
72%
Yes (6)
28%
(For the rest of the data obtained from the survey, please refer to Appendix D)
The application of biomimicry in humanised technology and culture, the conflict between
effectiveness of application in contrast with the actual number of applicants
01 Lack of Knowledge in the Craft
Upon studying data from graphic designers who use biomimicry as a tool, there seem to be an
overwhelming agreement on the potential gains leading from research in this particular interest, and its
capabilities in spearheading the design industry (See Appendix A). Yet reading into the surveys with general
designers displays another story. Not much of biomimicry is replicated in such cases, due to either a lack of
understanding on the subject, or a general lack of confidence in it’s apparent usefulness. The surveys
reveals that while a majority of surveyees agree that adaptivity is required in the design industry, many are
unable to draw a link from biomimicry into that concept of adaptation.
When asked about the effectiveness of biomimicry in graphic design, Interviewee Michelle Fehler
(See Appendix A) presents the idea of feedback loops in design as replicated from nature, where a certain
design is communicated and presented in a manner that allows constant affirmation of its effectiveness,
where it can readjust as required. This surfaces a repetitive problem with graphic design; the interactions
between designers, clients, and audience have always been a prominent case of miscommunication. Such
studies of biomimicry as simple as such could aid design indefinitely.
Randy Chan, the principle architect from Zarch, however, has a different take on the subject on
biomimicry when actually scrutinising the concept. As an architect, while he understands the possibilities of
biomimicry. He concludes biomimicry to be something that should not be forcefully sourced, but yet
introduced in a form of multi-disciplinary encouragement; for designers to seek nature because they
understand that they too are part of it. Instead of trying to put a microscope into matters, Chan (See
Appendix B), sees much of nature’s ways paralleling with teachings from architecture school, such as
perhaps the geodesic design made famous by Buckminster Fuller, that can be seen constantly repeated in
nature. To gain inspiration from nature, rather then actively mimicking it.
Overall, the lack of nature’s involvement in today’s design can be a matter of environment
(Sciencedaily 2009). Due to the lack of environmental support, in cities of todays situating graphic designers.
Most of our graphic designers today are based in packed cubicles (See Appendix F) due to a conscious
need for collaboration, while maintaining in close proximity with clients. Such cases of city living rejects
nature’s influence, with a general lack of wildlife in the concrete jungles. While the internet solves certain
issues regarding knowledge of flora and fauna, it is not a good substitute.
02 Cost / Client Wants and Needs are Different
It is hard to insert biomimicry into real world application. A discovery derived through the interviews
with Zarch members Randy Chan and Eugene Tan, and Brenda Ho a design undergraduate from Rhode
Island School of Design (RISD). While a general look into biomimicry is a positive one, the need to be
concerned about the take of a client dulls the kinds of channels a designer is allowed to explore, and such
restrictions to exploration and research leads to a collection of personalised creativity, without a place to set
foot in commercialised design. Without a starting point in research and development, biomimicry takes a
back seat in graphic design. A client understandably looks into the cost requirements in a project, and with
an existing technology functioning perfectly, the need for change is normally disregarded.
Marine Biologist, Kenny Chua further establishes the point, resting the case with the hectic life style of
humans; as quoted, “I think the strange thing about nature is that there isn’t a strong guiding force that leads
it, to have such an organic balance, such a self regulating kind of system, and I think the key to it is that
nature had a lot of time to get it right. So, over time it builds up this certain complexity, and eventually given
enough time it just works. Humans, I mean, these days, everyone is in a rush, and they have a lot of
pressures acting on us, we just don’t have the time to get it right”.
03 A Multidisciplinary take on Graphic Designs
“Is the human hand the best design (for us)?”, Brenda Ho establishes her point (See Appendix A).
Something designers have never thought of due to its organic nature; something that we have held on to
since birth. Yet should you look into nature, beaks of birds have morphed towards specialisations due to
environments; something that isn’t too uncommon for us when relating to the idea of tool use. Questioning
our personal biology, creates a futuristic take on what design can be like, should we take things apart and
rebuild them.
The key to biomimicry make sense most when it comes to its adaptive properties. Such adaptive
properties when seen in a multidisciplinary subject, and where that aspects is brought into a three
dimensional realm. The statement of two dimensionality in traditional graphic design has always been an
engaging subject; due to its rigid compliances. Nature however is not two dimensional, and the injection of its
3 dimensionality in graphic design can only improve its versatility. With that said, such multidisciplinary takes
explore biomimicry too in a natural instinctive manner as mentioned by Graphic Designer Maria Grønlund.
The playing of colours in street signs emulates poison dart frogs, how warning colourations (or
Aposematism) radiate similarly throughout species. Studying Aposematism in nature, it comes evidently that
some bright colours are avoided; and such warnings are not contained to sight. Sounds, smells, touch, too
which warns another that this is a hazardous item or location. When asked if designers from the survey
would seek the use of parasitism in design (due to its adaptive nature), majority of them were positive. Even
with a lack of knowledge on the subject, they do see a potential in its application.
What aspect of biomimicry can be sourced into aiding graphic design?
Through the interviews, the paper pinpoints specific traits in biomimicry that can be brought forward
to design, for not everything works as a perfect transferable subject. In this particular section, the paper
explores insights from both practicing graphic designers, and biologists on natural aspects that justifies
growth when transferred to the world of design.
01 Minimalism in Design
A study into design parasitism, as Kenny Chua specifies, in the form of a parasitic barnacle,
Rhizocephala, opens up notice on how parasites lose a lot of their main components, and keep only key
points in the transaction. Having adapted themselves to a reliance on a host, unnecessary gadgets are
disposed off. As kenny chua explains, “They have a very simplified body, which can be linked to minimalism.
What is left is a very rudimentary body system, which they still retain their reproductive system. This breaks
down to the key idea that you seek in design, once that key idea is there, everything else will fall into place.”
In the concept of minimalism in design, stripping to its bare essential is textbook. However the implication of
a parasite in design creates a unique mutualism that justifies which parts of design is best chose in the
purging. Like puzzle pieces and their concentrated specialisations, the concept eliminates the need for
additional functions that add on to the cost of upkeep, the lesser the things to maintain, the simpler it is. Take
for example fixed gear bikes in comparison to proper road bikes, the lack of components makes it less likely
for malfunctioning complications. When everything functions just exactly what is require and nothing more,
not only will things work better, but there is less waste.
Unlike the multifunctional design these days, like backpacks (See Appendix G) where more is more,
and functionality leads in an array of tools, all meshed up into a single compartment. Minimalism in design
smoothens out the noise, and encourages reliance in society, where you have the main tool, yet is capable of
using that main tool to manoeuvre yourself around an environment that the main tool has strong adaptability
to, thus synchronising with the surrounding.

Excrescent Utopia by Milo Ayden De Luca (2013) lends a hand in explaining this concept of an
adaptive tool, where using an existing system (street lamps), and extending parasitic living boxes to it, the
architect creates an environment that does not take any more then it needs, yet functioning its needs in
entirety.
02 Three Dimensionality
“Unlike terrestrial environments, aquatic environments are distinctively three dimensional. Aquatic
animals exhibit various adaptations to this medium. For instance, many scatter their eggs and sperm directly
into the aquatic medium. These eventually develop into tiny larval organisms that drift with the currents—in
other words, plankton. Plankton are unique to the aquatic environment, and are enabled by the 3D aquatic
medium. We can also think about the fins of a fish, and how the control roll, pitch and yaw movements in a
3D medium.” Kenny Chua explains. Such ideology forces graphic designers to look beyond a practical
barrier, and makes a shift in construction. By looking past a construction and its medium, designers are
capable of reinventing the wheel.
Yet while looking past logic is the first step to break traditional design barriers, and conceptualising in
a realm of pseudoscience. Looking further into material science, and understanding the physics behind it is
needed for design to excel. The concept of write drunk, edit sober applies here.
Seen in architecture, where design exist beyond a flat world; with vertical movements as well as horizontal;
Eugene Tan from Zarch explains on design adaptability based on a 3 dimensional X, Y and Z axis in
architecture. A building that shifts according to the needs of the user as can be seen periodically in Sharifi-ha
House’s manipulative concept (dezeen 2014). The three dimensionality allows users to ideally adapt a space
based on the requirement of an existing job. How a wall can become a table, and a table into a chair; all
purely based on physical manipulations of a building. Thus we break away from the idea of a specifications.
By identifying space as something that is versatile, we no longer get locked to a certain trend based on a
particular medium, and are free to explore its proximity; just like in an aquatic scenario.
03 Information dissemination and feedback loops
The feedback loops in graphic design can be justified in the study of DNA and MRNA transitions; as
Kenny Chua explains, by the constant interactions and conversations from an entity to another that forms a
strong chain of checks. Graphic design works best, when in aid of other aspects of craft; objectively creating
a holistic system of support. An ants nest works best when communication is throughout, and each and
every ant represents a data mined, to be disseminated with the rest of the colony (M. Möglich, U. Maschwitz,
& B. Hölldobler 1974); useless if kept to itself. The more the information gets disseminated in a diverse
manner, the more feedback it gets, and thus the more it improves for the next version of dissemination.
Studying nature allows a responsive take on these information systems. Cell Biologist, Melissa Soh explains,
‘Cells are first formed on the backbone area, and then spread out from there’. This is important, as cells first
start from the backbones of animals as it is the best location to send to the rest of the body, nature always an
effective route. Understanding the cruciality of information management, graphic designers work better by
actively talking to people outside of design. Bicycle design for one, consist of different components. Each of
these parts have certain standardisations which makes it hard to conceptualise aerodynamics because each
part is made with a different sensibility in mind, yet they all have to submit to a general size, or kind of
joining. Rather then doing things separately, these days, high end bikes have accustomed to a certain
integration of parts (See Appendix I). By a simple act of collaboration, everyone wins.
Existing biomimicry in graphic design, and if there is an actual need for it.
01 Mimicry in Brands
Michelle Fehler identifies parasites existing in brands mimicking one another for gains in the
mimicked brand’s name. Upon closer scrutinising however, Fehler states that the concept can be magnified
into of a set of methods, or steps to take during conceptualisation, such as using nature as a visual aid, and
studying the subject in its different levels. That concept is similar to Batesian Mimicry and Müllerian mimicry,
the former where a non toxic species mimics a toxic one to gain a certain advantage in predator deterrence
without actually having to spend resources to create toxin, while the other a more complex mimicry where
both species mimic one another’s warning colour in order to target a mutual enemy. Super market brands
are typically engaged in such forms of mimicry, having the need to fight for shelf attention, where lesser
known companies imitate motifs to exploit the reputation and advertising costs of their competitors (Dawar
2012).
02 The Fibonacci sequence and the golden ratio
Recreating the patterns of nature through certain algorithms in design is not easy, but it is possible.
The golden ratio while something realised back in ancient greek by man, can also be seen in nature. With
many of nature’s systems perfectly utilised in their designs; notably flowers, leaves, and other parts of
nature; where a particular ratio works in keeping things in order. While beauty is a sought after property of
the golden ratio in graphic design, much of the emphasis lies within the need to be proportionally functional.
Too much of a good thing is a bad thing, and nature is constantly adjusting to prevent that from happening.
Where only the needed is kept, and in a manner where it functions proportionally not only in its form, but to
its functionality as well.
Perhaps a good example can be seen in Spider Monkeys and their disproportionately long arms
when seen physically. Its life among trees however, actually makes these arms proportionately idea. Which
brings down to a practicality versus aesthetic issue. In graphic design, the management of a page, and the
creation of a grid system parallels nature’s methods of working along the golden ratio as can be seen in
Josef Muller-Brockmann (Folksonomy 2013). Implementing it could be mathematical, but yet in the concept
of proportion, nature has a good gauge of it, and the ratio it has on its different segments, where math guides
yet is hard to justify.
03 Colour theory
Graphic designers are cautious of the kind of colours that they use, for humans are born with highly
established vision, and sight is crucial for our daily judgement. Colours theory not only functions as personal
preference, but on a secondary level aid physical and psychological fields of both conscious and subliminally
message transfer. The animal kingdom is amazing in that aspect. While certain organisms display
threatening spikes and mandibles, other organisms are a little more subtle with their parades of aggression.
Minimally, these organism show a range of colours that are predominantly unfavourable to their predators.
While the vision of humans and its neighbouring organisms differ, the resulting theory still applies with the
use of colours as a message tool. Clarifying colourations in nature, we see its parallels in manmade
environments, be it a sense of bright red or yellow warning colours for construction sites; or an alluring
calmness that the colour pink brings due to psychological or social programming (Morin 2014). Studying the
sense of colour in nature first starts in a superficial level about appropriate colouration. Nature has a sense
of colour that can be perfectly uniformed, neon colours will stick with neon colours, similar to a scenario in
the colour wheel. Designs would aid a sense of colour correctness by studying nature and its colour
arrangement. On a secondary take on colour mimicry, it would make a great deal to study the concepts
behind why certain colours were used, for they either use their colours to attract or deter, and each of their
targets have different levels of vision, a study that can aid our idea of how colours work accordance to the
variations of sight.
Limitation of the Study 04 Yeo 21
Chapter 04: Limitation of the Study
The first limitation comes with the lack of responses, where a few of the designers targeted ended up not
replying the survey request. Some of which were overseas designers and the reduction of foreign support
does restrict the geological demography of the project. The lack of support via local graffiti artist, and local
artists with biology backgrounds makes it hard to bring the subject into a local context, where the concrete
jungle restricts much of nature’s influences. Some of the interviewees replied, but were unable to give a
conclusive take on my subject due to a lack of understanding of it while others replied but due to their
compacted schedule were unable to give a good take on the subject.
Another limitation happens with scheduling the verbal interviews. These interviews had a high
probability of failing. Due to the need of equipment checks, asking the right questions, and time
management; where in this case, an interviewee had to leave half way due to a meeting that he had to
attend. Some of the sourced interviewees like the Japanese Parasitic Museum are based in countries that do
not speak english. With a language barrier, proper questioning is a challenge without an appropriate
translator. Survey replies vary in usefulness due to the niche subject of biomimicry. Which can be understood
as biomimicry is not an absolute requirement for design to work.
This paper also realises that the data mining has to be a little more organic, instead of focusing on a
fixed set of questions for everyone; simply jumping into a particular question without understanding the
background stifles the full spectrum of what an interviewee is able to bring to the table. The sourcing of
surveys should also move towards hobbyist and groups keen on the subject of biology; such as bird watches
and trekkers who while lack an active pursuit in biomimicry, makes up for it with their constant interaction
with nature.
Secondary research wise, there seem to be limited books out there on the topic of biomimicy in
graphic design. Due to that limitation, there is a huge reliance on biomimicry paralleling works, and studying
on how they can be improved if given proper research channels. 

Conclusion 05 Yeo 22
Chapter 05: Conclusion
Biomimicry should be utilised in a manner that correspond with humanistic values, such that it could
be picked up easier, instead of complicating an ideology by separating it into two segments, a humanistic
manner, and the other from nature. This research study should study in closer relation to humans as
organisms as well, in order to portray a more likeminded look into the topic; instead of designers ostracising
it as irrelevant due to its distant relation to man. The research notices particular aspects of biomimicry that
can be improved upon, not only that but it too takes into the account of making biomimicry easier and more
accessible to the general public. May it be an inclusion to graphic design pedagogy, or the need for further
explorations beyond the likes of a laptop screen. These should be made clear, that design does not have to
focus on humans all the time, looking beyond that aids stronger methods due to the longer lineage for certain
floral and fauna and their instinctive take on adapting to a cause. While tried and tested methods of
biomimicry has been consciously or unconsciously implemented in todays design spectrum, the research
concludes that there are still many left to explore, and it is only via an eagerness to explore will we see a
promising gain in such biomimicry study and application.
The paper has shown examples of biomimicry and design properties that lie within the realms of
nature. Some of these concepts are still in beta while others are already in progression. A conscious take
from the research reveals biomimicry graphic design predominately in the aid of visual representations; such
as visual mimicry in nature that can be translated to design planning, and also system designs that occur
from layouts to advertising plans—improving skills in an offensive and defensive manner to what seems
more or less an everyday occurrence for the average designer.

References 06 Yeo 23
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Appendices 07 Yeo 29
Chapter 07: Appendices
Appendix A (Interviews with Biomimicry Designers)
Interviewees: Michelle Fehler / Brenda Ho / Maria Grønlund
Interview Questions:
1. Would you mind introducing yourself? (Would you tell us what your specialisation is, 
and what do you do?)
2. In what way has the study of flora and fauna changed the way you look at the world?
3. More specifically this time, what form of nature can you see (or have personally) utilised in  
graphic design?
4. What do you see in design that already consist of adaptive properties, and where do  
you see further explorations on the subject of adaptivity.
5. What is your undestanding of parasitism in design? Do you see its effectiveness in  
graphic design? If yes, in what way. If no, why?
6. In your opinion, what form of parasites would be useful as a biomimic subject when it  
comes to graphic design?
7. Do you think graphic designers in general are using biomimicry in their craft? If yes,  
in what way. If no, why do you see the lack of such usage.
8. Do you think there is a certain difficulty in the application of biomimicry in  
graphic design? Why?
9. Where do you see this (biomimicry) aiding design in a multi-disciplinary aspect?  
(expanding beyond traditional graphic design like print/web)
10. In your point of view, what do you think that nature has that, we humans lack?
11. Any interesting projects you are working on right now?
12. Last but not least, what is your favourite animal to mimic and least favourite?
Subject: Interview with Michelle Fehler
Occupation: Full-time Lecturer at the Herberger Institute for
Design and the Arts (Arizona State University)
Medium: Email Interview
Website: http://design.asu.edu/directory/selectone.php?ID=2
Would you mind introducing yourself? (As a designer, would you tell us what your  
specialisation is, and what do you do?)
I am a faculty at Arizona State University, teaching Visual Communication with a focus on typography,
sustainability, and biomimicry.
In what way has the study of flora and fauna changed the way you look at the world?
All the way really. From my childhood in switzerland where I spent most of my live outdoors, interacting with
living organisms, having my hands in the soil, and breathing and drinking fresh air and water. Then later,
after I moved to Phoenix, the environment around me was dramatically different. The desert has a different
challenge than nature in Switzerland, so at first I had little understanding of it. With time, I started to see the
little nuances of the genius adaptations that allows things to live and thrive here. Overall, I see everything as
interconnected and fluctuating. Nothing happens without affecting something else, wether good or bad.
More specifically this time, what form of nature can you see  
(or have personally) utilised in graphic design?
When you say form, do you mean living organism, or do you mean physical form in an aesthetic way? I have
looked to systems in nature. Cooperative relationships between plants and their pollinators, forms of
"packaging" in nature, ideas and adaptations, such as resource efficiency, waste as raw material, etc...see
my attached thesis for more information :)

What do you see in design that already consist of adaptive properties, and where do  
you see further explorations on the subject of adaptivity.
Not sure what you mean by adaptive properties. But guessing, if you are taking about feedback loops,
marketing does a great job in finding out if a certain campaign was successful. Many times, this information
could be taken a bit further to inform design, but businesses are driven by ROI (Return on investment) so
they do all they can to adapt to the needs and wants of their audience. This is, in my opinion, one of the
areas that could be improved upon from a sustainability factor. Getting better at providing the customer with
what they want, will lead to a more reliable relationship, and therefore will reduce the need for "convincing"
marketing materials.
What is your undestanding of parasitism in design? Do you see its effectiveness  
in graphic design? If yes, in what way. If no, why?
Hmmm...interesting question. I never thought of a design system as a parasitic system, however, I could see
how some companies try to piggy back on some other company's design. The apple ipod was copied by
other companies, where the look and feel of the music device was supposed to convince consumer to
purchase this lower quality and less expensive device, but making it look as if it was the same quality as the
original version. whenever something is successful, businesses try to copy it in some way and leverage it for
their own profit, maybe that could be seen
as parasitism...
In your opinion, what form of parasites would be useful as a biomimic subject  
when it comes to graphic design?
I would like to call the positive relationships that depend on each other as cooperative relationships. The ants
and the wasp on a fig tree have a cooperative relationship for example. See this article http://
www.auburn.edu/academic/classes/biol/7560/folkerts/schatzfig.pdf
Do you think graphic designers in general are using biomimicry in their craft?  
If yes, in what way. If no, why do you see the lack of such usage.
No, I do not believe it is applied yet on a regular basis. Lack of accessible information and time would be the
main reasons in my opinion. I do believe that humans want to do the Right thing. Biomimicry in design can
be seen as the right thing. Many designers have different criteria that they have to meet with their work and
during their process. Adding the biomimetic approach, without the right knowledge, might feel as "something
else added to the list to do" but they do not have time to do it correctly.
Do you think there is a certain difficulty in the application of biomimicry in  
graphic design? Why?
Yes, because visual communication is a strategic approach, and not just a formal one. Applying a living
organism's adaptations to a strategy is not easy to do.
Where do you see this (biomimicry) aiding design in a multi-disciplinary aspect? (expanding beyond
traditional graphic design like print/web)
I see the greatest potential in the overlapping area of graphic design, marketing, and business, as well as to
the strategic approach, multi-channel, to communicate visually. It will lead to fostered and trusted
relationships with our peers, partners, and competitors.
In your point of view, what do you think that nature has that, we humans lack?
Nature respects its boundaries. It knows that planet earth has a finite amount of resources. That alone
makes the big difference. Our approach, the greed, the strive for more, comes with a certain superiority
attitude by humans and will lead to the loss of resources needed for our future on this planet. The planet will
survive us, I know that, the question is, how long can we maintain  
our life here.
Any interesting projects you are working on right now?
Researching deeper patterns in how we can adjust today's business model to follow nature's guiding genius.
Last but not least, what is your favourite animal to mimic and least favourite?
haha, I do not have a least favorite :) All animals and their adaptations are so beautiful! I do tend to lean
toward plants and trees, since their approach aligns better with graphic design in some ways. I love all
animals....not possible to chose a favorite or least favorite one :)

Subject: Interview with Brenda Ho
Occupation: Graphic Designer  
(Undergraduate from Rhode Island School of Design)
Website: http://cargocollective.com/hbx/Parasite-Museum-Branding
Would you mind introducing yourself? (Would you tell us what your specialisation is, and  
what do you do?)
My name is Brenda Ho, and I'm a graphic designer. I graduated from the Rhode Island School of Design
(RISD) with a Bachelor's degree in graphic design. I wouldn't really say that I have a specialization, since I
am interested in many different aspects of graphic design, illustration, and other design fields.
I've always had an appreciation of nature and biology. The way I look at the world is regrettably negative. I
see the human race as parasites rather than a beneficial species to its environment. Disregarding the
indigenous populations who live simply and with great respect for nature, mankind is selfish and thoughtless.
We are depleting the earth's resources and polluting it with emissions and garbage. We make decisions for
the sake of our own convenience; bottled water, snack packs, trendy clothing, etc. As a designer, I recognize
that I can help mitigate this damage, for example, by using eco friendly materials or producing local goods,
but there is still an impact.
More specifically this time, what form of nature can you see (or have personally)  
utilised in graphic design?
I’ve mostly natural shapes for form, not function. Probably the most widely used natural shape in graphic
design would be the golden rectangle; found in the chambers of a nautilus shell and many  
other natural objects.

What do you see in design that already consist of adaptive properties, and where do you see further
explorations on the subject of adaptivity.
I think architecture uses adaptive properties very well. You have buildings that blend in with their
surroundings, or use locally sourced sustainable materials. There are also buildings that anyone can build
themselves, like earth homes, that require only the dirt from the land the building is being built on. Architects
draw on systems that exist in nature to suit human needs. If you look at the California Academy of Sciences
designed by Renzo Piano in San Francisco; it has a green roof, is made of recycled and sustainable
materials, and doesn't need to be heated or air conditioned.
Further exploration in adaptation would be amazing to see in prosthetic limbs and organs. There have
already been amazing strides in the design of prosthetic limbs once designers and engineers started to work
on them. But is the human hand or leg the best design? What about mobility devices for the disabled? We've
already developed machines that can walk by themselves (and not fall over even when pushed), could we
give disabled people a four legged mobility device capable of going up and down stairs and other  
irregular terrain?
What is your understanding of parasitism in design? Do you see its effectiveness in graphic design?
If yes, in what way. If no, why?
The parasite in design is the message. If you design something, there's a message you want to send.
Whether it be an idea or a product, you're selling an something to the world. And like parasites, design and
how it functions evolves. Advertisements started out as simply selling a product, then became more zany
and attention grabbing. Now, companies can rely on their own consumers to advertise for them. (This article
has a few good examples) The Superbowl is a big event in the US. I'm not a football fan, and I didn't watch
any of it, but I still know what commercials were on and what people think about them. It's kind of a joke here
that the commercials during the Superbowl are what most people want to watch; the sports in between are
just something to sit through. Advertising time during the Superbowl is extremely expensive, because most
Americans are watching it. So companies put a ton of effort into creating memorable commercials. Many of
these now tend to be overly sentimental; it's not about selling a product anymore, it's about making people
feel emotions, and sadness sells. (Just look at Thailand's tearjerker commercials.) Even if the commercial is
ridiculous or bad, people will still remember it and talk about it. In fact, the Nationwide commercial this year
featured a child talking about how he wouldn't get to do a bunch of things he wanted to do because he died.
And while child safety is a good message, Nationwide sells insurance, not child safety products, which led
many to ask "how would this help the parents of dead children?" Others modified the Nationwide jingle from
"Nationwide is on your side" to "Nationwide your kid just died." While this may seem like bad publicity, it has
everyone talking, tweeting, and messaging. The name Nationwide is now in their heads.
Parasites infect a host for their own purposes. You could say that advertisement and design is a vehicle for
the consumerism parasite; get into people's minds and make them want to buy things that they don't
necessarily need because they want to feel trendy or better about themselves.
In your opinion, what form of parasites would be useful as a biomimic subject when it comes to
graphic design?
Parasites that can invade a creature's brain and influences its behaviors.
Do you think graphic designers in general are using biomimicry in their craft? If yes, in what way. If
no, why do you see the lack of such usage.
There's a trend right now to make things look handmade or natural; a lot of neutral and earthy colors being
used, and natural materials. There's definitely an appeal for nature and organic shapes. I'm not sure if it's
widespread exactly, since it really depends on who their client is, but even the technology industry likes to
mimic nature and the feeling of nature.
Do you think there is a certain difficulty in the application of biomimicry in graphic design? Why?
Real-world application is difficult. As a designer, you have to keep the client's needs and budget in mind.
Depending on their target audience, you could be very creative or you are forced to be very blunt and dull.
It's not uncommon for designers to have their ideas shot down because the concept was too difficult for the
client to grasp, or they fear that their audience will not be capable of understanding it either. Biomimicry can
be a very complex and elegant thing; if it's not directly applicable, it's a very risky design choice.
Where do you see this (biomimicry) aiding design in a multi-disciplinary aspect? (expanding beyond
traditional graphic design like print/web)
Industrial design, definitely. And architecture. In fact, I think 3D design has many more useful applications for
organic design than 2D design. It's hard to use biomimicry in traditional graphic design that's not just for
aesthetics, because nature is not a flat and one dimensional subject. Industrial design can draw heavily on
nature, because flora and fauna have been evolving for 4 billion years, adapting and changing to thrive in
their environments. Evolution has created amazing organic designs; from a gecko's foot pads to the
muscular and skeletal structure of a monkey's hand.
Nature has a certain brutality to it. If a creature's design is bad, it gets scrapped. Survival of the fittest.
Humans are more sentimental; we hang on to our ideas, beliefs, and sick people, even if it's harmful.
Not at the moment.
I like to mimic seals because they sound so comical, and I'm pretty good at it. I don't know what my least
favorite is. All animals are fun. :P

Subject: Interview with Maria Grønlund
Occupation: Graphic Designer from Lystrup, Denmark
Website: https://www.behance.net/mariagroenlund
Would you mind introducing yourself? (As a designer, would you tell us what your  
specialisation is, and what do you do?)
My name is Maria Grønlund. I’m a graphic designer from Den- mark. I’m a former classical musician singing
opera and playing the piano. In 2007 at the age of 36 I started as an apprentice at a commercial agency.
After less than two years as a student I got my first job as a graphic designer at an agency. I now work as an
independent graphic designer with clients from all over the world. I mainly work with branding and visual
identities, but I’m also very fond of working with digital art. My work has become known for it’s bright vibrant
colors, but also the playful and experimental approach to the software tools I use.
I’m very fascinated and curious about the intelligence of nature. We—as humans—tend to think we are
superior in intelligence. That the normal waking consciousness that we identify ourselves with to a great
extend is the brightest among all living beings. Yet still we’re not able to fully grasp the mechanisms of nature
or to clearly define what life is. I’m of the Socratic opinion that the more we know, the more we know what
little we know. And as such I also think it’s vital to have an open and curious mind. To allow yourself to
observe and wonder—instead of hunting answers at the expense of the experience. By looking at nature, the
fine-tuned, ethereal and powerful intelligence of flora and fauna, I’ve learned that knowing is good, but to be
wondering also is even better.
More specifically this time, what form of nature can you see (or have personally) utilised in graphic design?
For some of the more experimental projects I’ve worked on, such as the ‘Radiolarians’, the poster ‘Cosmos’
and the series ‘I speak fluid colors’ I’ve used shapes from nature as inspiration.
The shapes for the project ‘I speak fluid colors’ is based on studies of simple funnel shaped flowers. The
shapes are developed into abstract formations that still have maintained some kind of distinctions from the
flower shapes.
I find the shapes in nature very intriguing and
inspiring. I’ve been wondering how nature can craft
so complex and beautiful shapes and patterns. So
I’ve been studying flowers very closely hoping to
be able to extract knowledge or design information
to create a reversed engineering process to
recreate the design. I’ve found out that by using
some of the algorithms that are built into the
software tools I use I can generate complex
shapes and patterns that resemble what you find in
nature. An example is the poster ‘Cosmos’. The shape is based on two circles applied layers of effects that
generates waves and zig-zag patterns.
Biomimicry is still a new science area. Particularly in relation to graphic design. Until now it’s mainly been
sustainability in the production and the symbolism in the use of colors and shapes that’s inspired by nature.
I believe the way creative ideas are developed will be influenced by biomimicry. So ideas are grown and
developed through iterative processes that resemble what we see in nature. Rather than using the so-called
good idea as a fix point in the creative process. Picasso said ‘I have an idea. And then it becomes something
else’ revealing a flexibility and openness in the process. That an idea can be an initiator, but not necessarily
have to be a sacred constant that’s untouchable. In a creative process you can allow ideas to be organic  
and modular.
What do you see in design that already consist of adaptive properties, and where do you see further
explorations on the subject of adaptivity.
An obvious example is the design as we see it on electronic medias now. Webdesign is expected to be
adaptive nowadays. Text boxes and pictures flip and change flow depending media it’s shown on.
Adaptive design is also seen in branding where dynamic identities meet the need for constant change and
renewability in a world in rapid development.
‘To stand still today is to go backwards – and quickly.’ 
Richard Branson
The book ‘Dynamic Identities’ by Irene van Nes describes different dynamic branding systems. The dynamic
identities are split up in 6 different categories: Container, Wallpaper, DNA, Formula, Customised and
Generative depending on which aspects of the identity that’s flexible and changing.
What is your understanding of parasitism in design? Do you see its effectiveness in graphic
design? If yes, in what way. If no, why?
Well, you can see it in branding where there’s so called parasitic brands who try to capitalize on more
successful brands by imitating their visual identities and packaging. An interesting phenomenon that
sometimes occurs is when various brands are mimicking a leading brand. Then it can become a standard
that the customers expect is being followed.
An example is the Danish butter brand Lurpak. It’s and old brand from 1901 with a silver and blue visual
identity and package. Smaller brands have been using the same color scheme to benefit from Lurpak’s
popularity for so long that Danish consumers now expect butter package to be silver and blue. Butter in a
orange or violet package would be an absolute no-go here in Denmark since consumers most likely would
mistake the products for something else. So yes. Parasitism i graphic design can be very effective.
In your opinion, what form of parasites would be useful as a biomimic subject when it comes to
graphic design?
A mistletoe maybe. Mistletoe parasites on tree branches since they do little to no photosynthesis of their
own. Often the branch the mistletoe grows on dies, so the mistletoe is considered a pest in general. But
studies show that the ecosystem around the plant is enriched and the biodiversity can benefit from it since
mistletoe attracts birds which eat its berries and an array of other animals that feed of its leafs and roots.
If we somehow could benefit from combining abilities in graphic design to create value for a greater good.
Something that wouldn’t be possible by summing up the abilities of the individuals alone. That would be a
positive way of using parasitism in graphic design.
Do you think graphic designers in general are using biomimicry in their craft? If yes, in what way. If
no, why do you see the lack of such usage.
There’s areas that’s very creative and often innovative in graphic design such as illustrations and visual arts
design. They have a rich diversity and a flow of evolution that seems to move faster and faster. You don’t
categorize graphic design trends in centuries anymore. Rather in single years. These areas in graphic design
have a lushness and richness in creativity that very much resembles growth and evolution in nature. Trends
and tendencies in graphic design are organic and dynamic. Then there’s other areas of graphic design that’s
very much driven by rules, logic, tradition and fairly fixed systems. Such as formats, typography, page layout,
printmaking. Because of technical limitations, financial limits, but also for reasons such as readability,
convenience and to meet rigid clients expectations to how graphics should be designed. Graphic designers
use universal forms and principles in their work. We look at how nature communicates. Using sunny yellow
to create a warmth. Harsh toxic yellow to signal danger, just like the Poison Dart Frog in the picture below.
By mimicking natures way of communicating you’re benefiting from an instinctive knowledge we’re  
all born with.
Do you think there is a certain difficulty in the application of biomimicry in graphic design? Why?
Biomimicry is mainly used to find sustainable solutions on engineering problems. But it appeals to both
design and business areas to find and develop nature-inspired methods.
Biomimicry are used in relating to print methods, the process of producing the paper graphic design is
printed on, the material used for the paper, how it’s grown, manufactured and treated during the production.
Question is of course can biomimicry be transfered and used in graphic design on a more abstract or
aesthetically level? When nature is using colors, shapes and patterns it’s never random. It’s always highly
intentional and for very specific purposes. Shapes in nature are mostly organic. But many shapes in graphic
design, such as text-boxes, the artboard, the paper are often geometrical opposite to the organic shapes
found in nature.
Architects and industrial designers have adopted the organic pleasant curves, but it seems we’re a little
behind this evolvement in graphic design. Perhaps because of the limits of the medias we’re using.
Another area in graphic design that can also benefit from the methods in biomimicry is the idea development.
How has nature developed good solutions? How was the process. And also to look at the intention and
purpose of what we’re creating as a part of the whole concept. Graphic designers are more than just
craftsmen. We are not only influencers with our style and techniques. We can be ethical influencers also.
Where do you see this (biomimicry) aiding design in a multi-disciplinary aspect?  
(expanding beyond traditional graphic design like print/web)
Nil.
In my opinion there’s no distinction between human and nature. Humans are a part of nature. To think we’re
separated from nature is an illusion. But the modern form of humans only evolved about 200,000 years ago
and our planet is 3.8 million years old. So the evolution nature has been undergoing is much older that us
and has proven its sustainability. Where as we as humans now must realize that we’ve created a global
environmental imbalance that we need to find a solution to. Solutions that nature might be able to give us the
answers to via its ingenious ways of solving various engineering challenges.
“You could look at nature as being like a catalog of products, and all of those have benefited from a 3.8
billion year research and development period. And given that level of investment, it makes sense to use it.”
-Michael Pawlyn
I’ve been invited to participate in the project Playing Arts. Each card in a deck has been individually designed
by one of 54 selected international artists in their distinct style and technique. It’s my assignment to design
the card Two of Hearts. And I have a deadline Valentine’s Day. I love when there’s a synchronicity in the  
work I do.
I’m also working on a visual identity for an event held by Site- core in Copenhagen this fall. Sitecore has a
biannual event called Sitecore Digital Trendspot where they invite some of their largest customers. Maersk,
Ecco, The Danish Parliament, Canon, Tivoli are among some of Sitecores clients. Next week I’m starting on
a branding project for a new company that plans to revolutionize the way we see television. The project has
an element of Star Trek futurism that’s really intriguing and inspiring.
The least favorite animal to mimic would probably be some kind of parasite that eats of a living prey.
I don’t have a specific animal I prefer, but I’m very fond of the happy and playful dolphins. Especially
because they’re also very kind and intelligent.

Appendix B (Interviews with Architects)
Interviewees: Randy Chan / Eugene Tan Wei Ming
1. Would you mind introducing yourself, your line of work, and what got you into architecture.
2. How did Zarch happen?
3. As a multi-disciplinary firm, what is it that you guys do differently? Perhaps share with me your thought
process during concept development.
4. The isms have always been a part of architecture, and in its influencing of its pace, where do you think
we are now? and where do you see inspirations from nature being part of this process?
5. Do you use biomimicry or nature in your designs, and would you be kind to explain an  
example your execution?
6. Do you think that biomimicry in architecture is good?.. Why do you think it is sort after? or discarded?
7. Do you think there is a link between the manipulation of space in architecture, and nature’s ability to
adapt to the environment it situates in? and why?
8. There seem to be a rise in biomimetic architecture in recent years, such as the art science museum and
double helix bridge in singapore which mimics the forms of nature. why do you see so? and what other
ways do you think that might work in such mimicries of nature.
9. There is a form of architecture called parasitic architecture, have you hear of it, and your thoughts on it.
Has it influenced you in your designs.
10. In the back of your head, you have any form of parasite that you think works for design.
11. In biomimicry, there are systems and structures in nature, that are relevant such as tensile and tension
forces in architecture, and the physics it takes to sustain a structure, have there been any of such
influences that you picked up from nature, or if not, where do you get inspiration for your systems in
managing the forces taken to sustain a building.
12. What is your take on sustainable design? Do you see a link to it and biomimicry? Why?
13. In architecture there’s a strong basis in 3 dimensional design, yet in graphic design, which consists often
in a 2 dimensional manner, in what way do you think it differs in biomimicry?
14. What is your take on biomimicry in graphic design, do you see a strength in it?
15. Where do you see the future of biomimicry in the form of design, and how do you see its evolution,  
to thrive or to fall.
Subject: Interview with Zarch Collaboratives
Occupation: Principle Architect, Randy Chan  
Architectural Designer, Eugene Tan Wei Ming
Medium: Verbal Face to Face Interview
Website: http://www.zarch.com.sg/
The interview is a recorded verbal interview, the audio file can be located in the CD;
marked Appendix B
Appendix C (Interviews with Biologists)
Interviewees: Kenny Chua / Melissa Soh
1. Would you mind introducing yourself?
2. As a biologist could you tell us what your specialisation is, and what do you do?
3. Why does the study interest you?
4. Has the study of flora and fauna changed the way you live, or do things? if yes, how? if no, why not?
5. Have there been situations in your life that you sought a solution from nature?
6. More specifically this time round. As a biologist, what form of nature can you see used in  
graphic design.
7. What is your concept of parasitism in design, how do you see it’s effectiveness.
8. Do you know of any forms of parasites that would be useful as a biomimic subject?
9. Graphic Design is about systems, well thought out information and how such information is decimated.
Would you happen to know of any such tools from nature?
10. In your point of view, what do you think that nature has that, we humans lack?
11. Do you see biomimicry for the masses? For everyday ordinary individuals. if (yes) how do you think that
mimicry will aid people in their tasks? if (no) why?
12. Any interesting projects you are working on right now?
13. Last but not least, not what is your favourite animal to mimic and least favourite?
Subject: Interview with Kenny Chua
Occupation: Marine Biologist
Medium: Verbal Face to Face Interview
Website: Nil
*Kenny’s questions are a little different from the above due to  
an impromptu method of questioning.
Would you mind introducing yourself?
My Name is Kenny, I’m an undergraduate at the National University of Singapore.
As a biologist could you tell us what your specialisation is, and what do you do?
I’m a freshwater biologist, so I study the ecology of all sorts of aquatic animals. Their relationships with  
each other and how they relate to the environment. So my area of speciality would be the ecology of  
freshwater crabs.
Why does the study interest you?
Well for me i guess my interest in freshwater research started from a childhood interest in fish keeping, so
after awhile I decided to take it a bit more seriously and I decided to pursue it in a course in the university, so
that’s how i got involved in freshwater research.
Has the study of flora and fauna changed the way you live, or do things? if yes, how? if no, why not?
Yeah Definitely, i mean as you learn more about all the wild life and the diversity around you, you start to see
when you’re walking in the parks or when you are going for your morning jog, you start to see how things
relate and how they fit together, and there’s just more to what it seem to be. You understand that why certain
plants and animals do certain things that they do and why to look a certain way. So you have a better
understanding of the things around you that would otherwise go unnoticed.

Have there been situations in your life that you sought a solution from nature?
I don’t think I can answer that, let’s skip this question for now.
More specifically this time round. As a biologist, what form of nature can you see used in graphic
design.
Nature is in generally, very complex. In the simplest level, people always say that nature is, beautiful. There
a lot of nice looking patterns in nature, if you look at the head of a coral, there’s plenty of very beautiful
tessellation, and those will make an attractive starting point for designers; and of course that is at a
superficial level but we get to learn more about nature, we see the way it is organised, the patterns and
principles that unite as nature. I think that there is a lot that we can learn from these principles especially in
the terms of biomimicry and applying these principles into design.
For instance, lets think terms of molecular biology. We think that the simplest building block of nature will be
of course a cell. The simple unit we can have that is alive, but a cell isn’t just a featureless block because in
fact we know that a cell is actually subdivided into many more components and each one of these
components, we call them organelles are actually very specialised, and each of them have a specialised
function to fulfil. So translating this into design, we can think for example; a poster, a poster has many
components to it. So each one of these components serve its own purpose, and each one of them has a
specialised function and in that case we can see the parallels between design and nature.
What is your concept of parasitism in design, how do you see it’s effectiveness.
Parasitism is one of the many interactions that organisms can have with each other. Parasitism can of
course be in the case where the parasite will benefit from this relationship or the host animal suffer, so thats
my definition.
So parasitism is just one of the many relationships that animals or plants can have with each other, it is
defined when the parasite will benefit from the relationship or the host animal will suffer, and is on the losing
end, at first glance we think that this is a very negative kind of relationship, and it does not seem like there is
much that we can learn from it from a designers point of view but maybe when you are dealing with a client
or when you are design team and there is someone who is not so cooperative; and that is like a parasite, so
that is maybe, a more negative look at it, but I think there are useful lessons that we can learn from
parasitism. Especially when you get to know more about the biology of the parasite. There are many
parasites across the animal kingdom, and from different groups that are not very closely related. Where
parasitic, perhaps say, leeches, we have crustaceans, and all sorts of things. Very different, but one theme
that unites many parasites is that they have a very simplified body plan. So how I think this can relate to
design would be in terms of minimalism. So this parasites generally, when I say that they have a reduced
body plan, it means that they have lost most of their body systems, and usually they don't have eyes; a lot of
them even lost their digestive systems; and what they are left with is a very rudimentary nervous system and
perhaps the most importantly they will still retain their reproductive system. This tells us something about
minimalism is that what matters most is would be the key idea when it comes to design. Once the key idea is
there, everything else will fall into place.
Do you know of any forms of parasites that would be useful as a biomimic subject?
So on the idea of minimalism and about the idea that the thing about the idea being the most important
aspect of the design, i think that theres this parasite that is really disgusting but at the same time it fascinates
me a lot and this are the parasitic barnacles. So we would think that a lot of barnacles are parasitic because
they live on the surfaces of other organisms but this particular barnacle, we call it Rhizocephala. It takes it
one step further. This barnacle is parasitic usually on crustaceans such as crabs, in fact it doesn’t even look
anything like a barnacle. It starts out life as this little lump. Rather featureless lump, that would actually
attach onto the joints of crustaceans, and it would actually inject a few cells into the crustaceans through the
joint; so these cells, after some time would spread through the body of the crustaceans forming fibres that
spread throughout the body and goes into the tissues of the limbs and the reproductive tissues and
everything, and eventually it takes over the nervous system of the crab and so it exerts a kind of mind
control, over the crab, over the host such that it alters the host behaviour to protect the parasite, to behave in
a kind of way that benefits the parasite itself. So, bringing this back to design, once we have a very strong
idea to drive a certain design, the idea will infiltrate into all the other aspects of design and will lead your
design direction from there on.

Graphic Design is about systems, well thought out information and how such information is
decimated. Would you happen to know of any such tools from nature?
I that’s in fact on of the most interesting parallels or one of the more obvious parallels that I can think of
between nature and graphic design. In recent years a lot of focus on biology has been focused on molecular
biology, specifically concerning genetic information in the form of DNA. As of most of you would know,
genetic information to code for a certain life form is contained in the DNA which is in the nucleus of the cell,
and as the cell goes about its daily processes, it would be converted into a related form known as RNA, so
information gets transcribed into another form. One copy of DNA could be transcribed into multiple copies of
MRNA, and from there we immediately see the parallels of it with design, how we decimate information
rapidly. From the MRNA, it would be translated into protein. This is a multi-step process and throughout each
step there is a potential to amplify the signal and to regulate the signal. It is related to how information flows
in graphic design.
As it flows, maybe we get input from other people, saying “hey maybe this design isn’t so good”, so at each
point of decimation, there is a potential for feedback and regulation, and for the fact that it amplifies, so once
we start decimating things, it also becomes harder to take them back.
Thats a challenging question, I think. I think generally nature has a very organic form of harmony that
perhaps humans made designs try to imitate, but somehow we still fall short. Nature can be very complex
but when we do something to it, there’s always a very complex system of checks and balances that will try to
correct the changes that we inflict upon it, theres a kind of balance, that human system not matter how hard
we try, generally does not do a very good job of emulating.
I think we try but generally it still doesn’t seem to have that kind of organic feeling that is so intuitively present
in nature.
Why do you think it’s so hard for humans to emulate nature?
I think the strange thing about nature is that there isn’t a strong guiding force that leads it, to have such an
organic balance, such a self regulating kind of system, and I think the key to it is that nature had a lot of time
to get it right. So, over time it builds up this certain complexity, and eventually given enough time it just
works. Humans, I mean, these days, everyone is in a rush, and they have a lot of pressures acting on us, we
just don’t have the time to get it right, but this is a very complex thing and I’m just not too sure.
Do you see biomimicry for the masses? For everyday ordinary individuals. if (yes) how do you think
that mimicry will aid people in their tasks? if (no) why?
I think there is certainly potential for people to make more use of biomimicry in their every day lives, I mean it
isn't really rocket science (obviously it’s not rocket science, because we are not talking about rockets), but
anyway, it’s really not too tough because many of these principles, we already learns from secondary school
biology, and it really quite basic. It’s more of a way of thinking then the fact that the subject or content is
really tough or anything like that, so even the principles that I was sharing earlier just now, a lot of them are
actually picked up when I was in secondary school, so yes, theres definitely more potential for people to pick
up biomimicry in their daily lives. I think perhaps, we need more of an awareness; when we don’t have ideas,
perhaps we can look into nature, what nature has to offer to us. We just need to remind people that that is a
source of potential inspiration.
We have to look beyond a more human-centic approach, nature is something that just not a lot of people
look to, especially in Singapore. In Singapore’s context, when you tell someone for instance, that, “Hey I am
a biologist”, they will say “Huh Singapore got nature meh?” So there lies the problem, increasingly people
don’t grow up in the proximity of nature, and especially these days, everyone is glued onto their smart
phones, we don’t look around us enough, and I think thats the problem.
Like I said earlier on in the interview, at the very basic level they are just cool interesting patterns in nature,
all the different tessellation, all the intricate patterns; and they are many scales. For instance, we are in an
aeroplane, we have a birds eye view on the landscape down below. A natural landscape, like a forest.
Perhaps an agrecultural land, perhaps we can be the patch works of the landscape down beyond; thats an
interesting pattern that designers can look to, and when you zoom in further, for example you look at the leaf
under a microscope, and there you see the patterns of the cell. There’s a lot of interesting patterns in nature
that can aid in the design approach. Aside from these more physical aspects, theres a more abstract things
about nature, like the principles that unify nature, like how nature is never form without function, there is
always a function behind form, and as a designer, like graphic designer, often they have a limited canvas to
work with. We don’t have all the space we work with, we have to really think about how to really make use of
all the space that is allocated to us, and how to make use of every single design element, I think nature has
some really interesting lessons to teach us in that, how to make use of every single resource we have.
I think its a little sensitive, I don’t think that I can share that because I am under research permits.
Last but not least, not what is your favourite animal to mimic and least favourite?
If you are thinking just for fun, I like to mimic the black rhinoceros, because it has a very interesting upper lip,
its kind of prehensile, it uses it to grab plants. I just find it kind of cool, no particular reason. Least favourite,
I’m not a plant person; I don't see very much in plants, so I guess that’s my least favourite.
Subject: Interview with Melissa Soh
Occupation: Cell Biologist
Website: Nil
Would you mind introducing yourself?
Hello Im Melissa, currently a research assistant in a lab (sorry, I don’t dare to give too much details.)
As a biologist could you tell us what your specialisation is, and what do you do?
I used to study cancer cells during my undergraduate years. Currently, I am working on viruses.
I’m not sure how much I can say due to the competitive nature of my job. In general, I find out the
characteristics of emerging viruses, and try to create vaccines.
Why does the study interest you?
Vaccines are SO important! Vaccines have the potential to render a disease extinct. Eg small pox, which
is now extinct in humans. Polio is on the verge of being gone forever. The invention of just one vaccine
(and of course the proper implementation to the public) can save millions of lives.
Has the study of flora and fauna changed the way you live, or do things? if yes, how?  
if no, why not?
Science has made me realise how limited humans are. Humans have spent thousands if not millions of
man-hours studying cells. Yet, we know much less than 1% of how the cell works. This leads me to
appreciate how much we have to learn and discover. In everything around us, there is undiscovered
information. I think this makes me appreciate the things that surround me.
Have there been situations in your life that you sought a solution from nature?
Not that I can remember.

More specifically this time round. As a biologist, what form of nature can you see  
used in graphic design.
One thing about nature that fascinates me is nature’s obedience to laws. The sunflower, for instance,
uses the Fibonacci Numbers in their flower arrangement. The Fibonacci numbers are also seen in many
other species (that I can’t remember now). Another example is the way cells spread out when a new
body is formed. Sometimes, cells are first formed on the backbone area, and then spread out from there.
One example of this phenomenon is the fur of hamsters always having a black stripe from the  
back bone area.
What is your concept of parasitism in design, how do you see its effectiveness.
I’m not too sure I understand your question correctly. :/ One of my first thoughts would be how a poster or
any other media is designed for one purpose, but another idea is also showcased/ displayed. Eg a poster
is designed to tell consumers about brand XYZ having a new drink. But at the same time, the poster
reminds the consumers that XYZ is known for being a healthy drink.
Do you know of any forms of parasites that would be useful as a biomimic subject?
(sorry, not sure how to answer)
Graphic Design is about systems, well thought out information and how such information is
decimated. Would you happen to know of any such tools from nature?
(sorry, not sure how to answer)
In your point of view, what do you think that nature has that we humans lack?
Nature doesn’t waste. Everything is used and recycled. Humans are far too greedy, taking more than we
need, and destroying ourselves and our surroundings in the process.

Do you see biomimicry for the masses? For everyday ordinary individuals. if (yes) how do you
think that mimicry will aid people in their tasks? if (no) why?
Something that came to mind after reading this question would be the experiment where fungus can
predict where major roads are being built. If I’m not wrong, it goes like this: America spent a lot of money
modifying their major expressways such that people can transit from various states in the most efficient
way possible. Scientists than realised that fungus have the ability to move from one food source to the
next via the shortest possible route. So, a group of wacky scientists decided to draw a map of America
on an agar plate, and placed food sources at the major states. They then added some fungi on one of the
major states. The fungi slowly started to grow and reached out for the various food sources around them.
The final result was that the fungi grew in the same pattern as the major expressways in USA. :D
Not sure if I can say anything wrt this :/
Last but not least, not what is your favourite animal to mimic and least favourite?
My favourite animal to mimic would be to spread ideas like viruses. If I have an idea that I cannot
accomplish, but someone in authority can, I would love to secretly plant the idea in their minds by
perhaps casually bringing it up, or asking questions that lead them to think they thought about the idea
themselves. They might not even know that the idea came from me, like a person does not know when or
who they caught the flu from (until the symptoms eventually emerge). And one day, the idea might
resurface in their minds, and they might take the appropriate actions. I think this is a powerful way of
getting things done without actually doing it yourself. On that note, this is precisely why spreading ideas
like viruses is also my least favourite animal (for others) to mimic. It’s pretty scary that someone might be
spreading viruses/ ideas to make use of you :o

Appendix D (Surveys with Designers)
Survey Questions:
Questions to determine demographics:
1. What is your gender?
2. How old are you?
3. What kind of designer are you?
4. Have you heard of biomimicry prior to this survey?
5. Have you heard of biomimicry prior to this survey? Yes or No
Questions to determine designer’s knowledge:
6. Have you attempted the application of biomimicry in your designs? Yes or No. Why?
7. What is your understanding of parasitism? In your opinion, do you see it’s applicability in design? If yes
why? If no, why not?
8. How important is it for a designer to adapt? (Scale of 1-5)
9. Would you be kind to identify a scenario, that required you to adapt a certain design of yours, due to an
unforeseen circumstance?
Survey Results
Number of Surveyee: 22
What is your gender?
10 males (45%) 12 females (55%)
How old are you?
20 (1)
21 21 21 (3)
22 (1)
23 23 23 23 (4)
24 24 24 24 24 24 (6)
25 25 25 25 (4)
27 27 (2)
29 (1)
What kind of a designer are you?
15
Interior Lingerie Illustrator Menswear Communica- Advertiser Graphic

Designer Designer Fashion tions Designer Designer
Designer
Have you heard of biomimicry prior to this survey?
No (14)
64%
Yes (8)
36%
Have you attempted the application of biomimicry in your designs? Why?
No (16)
72%
Yes (6)
28%
nopes. never got the chance to touch on this area. fluidity was the closest
I don't think I have attempted the application of biomimicry in my designs as of yet. Maybe I have done so
sub-consciouslessly, but my designs are usually based on my own personal style unless it's based on
another form of application.
No, because I have never heard of it before
Nope. I guess is things are being urbanized nowadays so nature didn't come in priority when I'm doing
design. However if There is an opportunity I would apply it in my design.
No. It is not my core interest.
No, haven't really thought of how it can be applicable to posters but I do know how it can be applicable in
other forms of design like product and fashion design.
I guess so? I personally try to come up with long-term solutions at the briefs given to me because sometimes
it's about proposing a habitual change and thinking about how it might affect and change the consumers in
the long run is essential.
Nope, because for me I have not encountered any design that requires application of biomimicry. *not really
familiar with the concept thus cant really use it
Nope, never really got inspired by nature before
Nope. Haven't had the chance or resources to try this out. Maybe ideas I have but never in an actual
physical execution.
No in terms of scientific application and yes if terms of figure of speech. Adapting to the mass market when
designing.
Nopes. Probably, because I havent come across the concept/idea/theme. Therefore, do not have the chance
to attempt on this application.
Yes, in the body shop (d&ad project). we tried to be as natural as we could, using nature based textures.
I have never heard about the term till I heard it from you. And this topic is really interesting. If I knew about
this topic, I will give it a try.
Not really, it sounds like an interesting area to look into, but I have not tried it before.
I think in one ways or another yes. I may unknowingly applied biomimicry in my designs throughout the
years. I'm just no aware of whole concept of it.
no, I don't know what's that
Yes, to shed a new light of perspective in graphic design. I wanted to know if the elements of the nature can
be used as a language to translate it into a visual interpretation.
No, I have never heard of this interesting term.
Often. Function defines form, so when looking to create interesting forms I often study the adaptations of
plants and animals.
nope. I guess I just have not thought of it yet. haha
yes. fibonacci and golden geometries are systems i've constantly employed in my work. the relation between
men and nature is inseparable. men stands with nature and is part of nature. it is only useful to use systems
derived from nature, in theory and in application, for men.

What is your understanding of parasitism?
adaptation to another being to improve one self
My understanding would be more toward the idea of micro-organisms seeking host usually for nutrients or
reproductivity where it latches onto the host and makes use of what the host can provide so the parasite is
able to work without actually working.
Parasites, leeching of people for ones own benefit without benefiting the host
Everything are dependent with each other
It is an organism that is harmful, hooks on to living things and consumes the nutrients.
a species benefitting from another species, most of the time the receiver sucking the host dry. Haha
Something that is dependent on something else?
"there is A and B. A is always take advantage of B without giving B something in exchange while B is
suffering because of A. A is selfish. B is the victim. poor B."
gaining benefit by disadvantaging the other
The relation between two different kinds of organisms in which one receives benefits from the other by
causing damage to it.
Mosquito?
Woah. This is... of no understanding. I'm sorry!
Parasitism is the survival of parasites through other parasites.
Relying it on another living thing to surive

something to do with a species benefitting from the other's traits or something? Not really sure what this
means to be honest.
"In my limited knowledge, parasitism means the parasite benefits or triumphs at the expense of the host. "
Parasitism is known as separate entity or species that latched onto another and they benefit or thrive through
the expense of their host.
Err, something to do with parasites? I'm not very familiar with that term to be honest. Let me 'google' it for a
bit. Ah okay, so I guess it's an action where one parasite benefits from another?
An arrangement where one party is at a total advantage over the other.
A study of different species eg. insects and nature.
constant exploitation of another being for sole purpose of individual survival

In your opinion, do you see it’s (parasitism) applicability in design? If yes why? If no, why not?
"yes. in this fast forming world. adaptability and parasitism is very important to catch up with every moving
and growing design philosophy
and directions in a long run. "
In architecture, most likely it has already been applied. But I have yet to hear anything about parasitism in
design. For parasitism to happen, there needs to be a host, so I'm not pretty sure if it can be applied to
design if there isn't really a host to latch on to.
Yes, it is somewhat similar to ambient design as long as it does not bring negativity to the host.
Yes. Because designers has to adapt with different clients, places, cultures etc, when designing
Yes. Parasitism in design is applicable at the start when you would need to gather inspiration and ideas, to
create a brand story. After, it would be implementation which is more imperative and how you execute a
design out.
yes, i would want my designs to improve (this is the benefit) based on understanding other people's designs
and concept
I'm guessing parasitism works like user-generated content. So yes, it is applicable in design. It could be as
simple as Candy Chang's Before I Die wall. It's a platform for consumers to come and create content.
"uhm I guess plagiarism is something like parasitism? but I can't think of applying parasitisim in design itself.
"
somehow we are, by the way we are modifying other people's works or inspired by other people's works and
then make something else

"I mean parasitism is definitely evident in a lot of designs (product designs). Plastic bags being one. It
benefits us but it harms the environment in the long run.
However, be it applicable, I don't really support the idea of it."
No. It seems a little to scientific to be used as part of a design process.I o
And i went googling about paratism... Well, I will say it is applicable to design, but just not sure how effective
it will be? My understanding and perspective of this term is ... to design something more modular? or it could
be patterned base...
Yes. As we see improvisation of design but I feel nothing is original. So we are adapting designs from other
designers.
Yes.
As mentioned above, not really sure what it means. But if it is about adaptation, then definitely, its applicable
to design. Design is in a constant flux and you have to adapt accordingly to stay relevant in changing times.
"Yes, I think it's applicable in mostly anything we do in life. Like Darwinism, survival of the fittest. Same thing
with design, if a detail or accessory over powers the whole look then it kills the ""host"" (outfit).
Not necessary a good thing though."
Yes, though Parasitism application may look like a negative vibe kind of thing. Somehow it does have a
positive effect to it. It's like bridging ideas from one host to another take for example like collaboration where
by one idea are expanded from another thus it will collate all the ideas and form it into a whole new
perspective which usually i call it a chain effect.
Hmm, i'm not sure really, but maybe. For example in printing matters, the trees here become the parasites.
Can I put it that way?

Yes. Beauty is defined by the ugly.
I guess it'll be interesting to see how parasitism can be applied to design as this topic is quite new to me and
also the different approaches designers take to overcome this. I would be interested to see how parasitism
can be applied to design in the future.
there is no effective answer to this question as the role of design varies per individual. if you talk about how
design aesthetics have been constantly appropriated superficially with no regards to context, and that
parasitism refers to the constant reliance on misappropriating and copying other design finishing without
finding your own context and specific application, then perhaps yes, parasitism may be observed in such
instances.
How important is it for a designer to adapt?
1 0 0%
2 0 0%
3 2 9%
4 9 41%
5 11 50%
Would you be kind to identify a scenario, that required you to adapt a certain design of yours, due to
an unforeseen circumstance?
“space constrains. height and width. weather constraints. budget constraints "
Most of the time adapting to different scenarios are because of clientele work. When you understand your
clients' businesses, you analyse what works for them and what doesn't. And from there you design and
create collaterals suitable for them. And of course if there is an unforeseen circumstance that need a design
to be changed or adapted to something else, that would have to be done.
The paper foldings I did for a certain governmental project faced certain obstacles; physical restrictions &
difficulty level, which in turn caused me to re-adapt.
Mooncake packaging. The choice of colours are limited. It is difficult to propose new colour to cilent.
Budget also one of the consideration that has to follow.
A border for products in a catalogue as they did not have consistent photos.
I guess it's when I have to change an art direction / simplify things because the general audience didn't
understand my 'zine. I felt that it was already quite simple but... I had to use a different approach then what
I felt was "right" and consider what people feel is "right" in order to make the 'zine appeal to more people.
Probably a time when we proposed a layout design for a retail client, but they want their retail brands' logo
to be super huge. Clients paying the bills...... meh.
"when you did your book binding without realizing how hard it is and the next day is submission. and then
your book binding has failed.
Now you need to think of any other way of adapting your book design to a new form so it would work
nicely.”
Hmm never really occurred to me before
I think we are only driven by the need to change when our environment is threatened. In this case to your
area of study, I could suggest all the environmentally friendly designs to my clients, but at the end of the day
if they find it too expensive to execute, they usually go with the cheaper option (that might be harmful to the
environment).
I won't say it's an unforeseen circumstance but more like there are many times I feel like I have to keep my
priorities right by designing products that intrigues my customers and not just for my own likings.
woah. erms... i can't think of one now? and it's abit confusing on... "me adpating a certain design of mine,
due to an unforeseen circumstance"
If you look at a social issue based topic, Change is inevitable. So, we have to constantly be up to date, with
what is happening and to what degree. Therefore, in order to work and target people, adapting to the
soonest is necessary.
I am kind, but i don't know when did i try to adapt a design. I didn't take note of it. Sorry bro
If a client approaches me with a brief that required the use of a specific software – flash, after effects for
example, I would be required/forced to adapt in order to take on the brief accordingly.
"Once I had a client who is looking for a black suit. However, he also needs to attend a black tie event,
hence needing a Tuxedo. I did a hybrid of both, keeping the jacket pocket welted, and utilizing satin only on
the welt and breast pockets as well."
Having a client in wanting me to put my graphic design style onto another type or characteristic of design
like for example kiddish and corporate kind of aesthetic.
I think for my current design project (making contemporary versions of Indonesian traditional textiles), in
order to get my prints produced, I realised that it is difficult to work with traditional artisans to produce my
prints, cause they are all used to their own style of tribal prints, it'll be very difficult for them to create new
ones (my versions). So unfortunately I guess I need to use conventional printing methods.
An illustration for a book cover where one main character kept changing it's race, species and gender...
Colours are scary to me. Most of my works I try to limit to 2 colours.But when I have to do works that
involves the use of colours, I get very uncomfortable and tend to spend more time on the project then I
should and 3/4 of the time are just by choosing the right colours to compliment each other. But as
designers, we need to be adaptable.
yes. take for example a print pattern i designed a couple of years back, has been reused and adapted as
book cover for another project. there's is really no hard rules on whether should a design be readapted. To
me, context is very important. If the print pattern I designed is suitable for the context of that book, then I
would gladly adapt it to achieve effective design for that project. Aesthetic should no longer be the primary
concern, the most important criteria for good design is objectivity and effectiveness.
Appendix F
Cubical City living of Hong Kong
Website: http://www.dailymail.co.uk/news/article-2306842/Stunning-images-Hong-Kong-living-cubicles-
look-just-like-Borg-cubes.html
The constricted living spaces of Hong Kong.

Appendix G
Multi Compartmented Timbuktu Especial Tres
Website: http://www.carryology.com/reviews-2/road-test/bag-review-timbuk2-especial-tres/
A bag no longer functions as a tool for carry; such that integration exist even within a  
humble pack. Such as the Especial Tres Backpack by Timbuk2.
(Left) Huge bag with a lot of features, different materials, and holding positions (Top Right) Laptop
compartment (Bottom Right) Book and pen holders

(Above) The backpack consist of a bottle opener should there be a need to open bottles
Appendix H
BMC 2015 Concept Bikes
Website: https://www.youtube.com/watch?v=-s88PfSY3mE
(Above) Concept bikes for the BMC; showcasing bike integration, where everything is designed by the
same company, removing the need to succumb to a template. The designers are allow to design everything
from scratch.
Top) Sketches of the Bicycle (Bottom) Close up of the integrated head set
Appendix I
Excrescent Utopia
Excrescent Utopia by by Milo Ayden De Luca

Website: http://www.dezeen.com/2013/01/17/excrescent-utopia-parasitic-architecture-for-homeless-by-
milo-ayden-de-luca/
Using Lamp posts as a living environment for the homeless

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Abstract Yeo 1

adaptations that take place in the world of flora and fauna.

Fredrik Yeo Jia Sheng

Yasser Bin Suratman

LASALLE College of the Arts

best area to start.

Chapter 01: Introduction

the author of 'Biomimicry, Innovations inspired by Nature'.

systems, with two organisms relying on one another for survival.

when transferred over to a synthetic form.

the conscious study of biology by humans to aid design.

Aims of the Research

Significance of the Study

tasks easier for the humanised body.

creations, a new life' (2007).

Key Research Inquiry

flow in a nonconventional manner.

Gaps in the literature Review

extraction of biological knowledge.

Chapter 02: Methodology

can, have as much experience as one much older.

biomimicry comes along with their take on work.

retaining the ability to effectively collect data.

influences due to knowledge in biology.

verbal phrasing of the interview questions sent.

Chapter 03: Discussion

Survey Responses from Designers

What is your gender?

What form of designer are you?

Interior Lingerie Illustrator Menswear Communica- Advertiser Graphic

Have you heard of biomimicry prior to this survey?

Have you attempted the application of biomimicry in your designs? Why?

effectiveness of application in contrast with the actual number of applicants

01 Lack of Knowledge in the Craft

unable to draw a link from biomimicry into that concept of adaptation.

studies of biomimicry as simple as such could aid design indefinitely.

issues regarding knowledge of flora and fauna, it is not a good substitute.

02 Cost / Client Wants and Needs are Different

03 A Multidisciplinary take on Graphic Designs

What aspect of biomimicry can be sourced into aiding graphic design?

growth when transferred to the world of design.

to, thus synchronising with the surrounding.

capable of reinventing the wheel.

03 Information dissemination and feedback loops

02 The Fibonacci sequence and the golden ratio

its functionality as well.

yet is hard to justify.

Chapter 04: Limitation of the Study

compacted schedule were unable to give a good take on the subject.

as biomimicry is not an absolute requirement for design to work.

on how they can be improved if given proper research channels.

Chapter 05: Conclusion

promising gain in such biomimicry study and application.

more or less an everyday occurrence for the average designer.

Chapter 06: References

Margaret Mckosky. (2012). Graphic Design + Biomimicry. Available: http://margaretmckosky.tumblr.com/.

Thomas P. Hughes. (2004). Human Built World. Available: http://press.uchicago.edu/ucp/books/book/

HYPEBEAST. (2015). "Acronymjutsu: Advanced" Mocks the Multi-Features of ACRONYM® Designs |

Biomimicry: Using Nature's Genius for Human Innovation: http://land8.com/profiles/blogs/biomimicry-using-

on how they can be improved if given proper research channels. 

5. What is your undestanding of parasitism in design? Do you see its eﬀectiveness in  

8. Do you think there is a certain diﬃculty in the application of biomimicry in  

9. Where do you see this (biomimicry) aiding design in a multi-disciplinary aspect?  

What is your undestanding of parasitism in design? Do you see its effectiveness  

In your opinion, what form of parasites would be useful as a biomimic subject  

Do you think there is a certain difficulty in the application of biomimicry in  

Occupation: Graphic Designer  