Inspire Marine Stewardship DMGT 732

INSPIRE MARINE
STEWARDSHIP
INSPIRE MARINE STEWARDSHIP
Authors:
Brittney Boudwin, Dionis Carter, Luyao Cheng, Eva Dunn, Mark Alan Hemphill,Lin Jiang,
Tyler Leppek ,Sandra Montalvo, Zach Nilsson, Jose Paez, Jian Shi, and Han Tian
in collaboration with Alison Scott.
2015 SCAD School of Design

All work that is not ours is attributed to the creator.
Inspire Marine Stewardship is the official process book of the Savannah College of Art and
Design graduate Design Management course: Facilitating Creating Thinking (DMGT 732) and was
created entirely by the students enrolled in that course. Its editorial content does not necessarily
reflect the views of the Savannah College of Art and Design. It was produced in the Winter
Quarter of 2015 and covers the period between January and March 2015. Students were identified
by year at the time of page production.
The 2015 Winter Quarter DMGT 732 process book features six sections: Introduction, Scoping,
Discovery, Creating, Evaluating and an Appendix. Apple Macintosh OS X computers using Adobe
Creative Cloud software (InDesign, Photoshop and Illustrator) were used to design all 162 pages.
Design Team portraits within the Creating section were taken by Han Tian at the Gulfstream
Center for Design. Marine research photos in the Section Dividers, Introduction and Scoping
section were provided by NOAA Grays Reef National Marine Sanctuary (Grays Reef).
Typefaces, Florence, Cambrito Book, and Cambrito Italic created by Sascha Timplan and Jeremy
Dooley, respectively, were used. The cover and interior illustrations were designed by Jian Shi.
Advisors
Design Team
Guest Participants
Cathy Sakas
SCAD Scientist
at the Design Table
Brittney Boudwin
Dionis Carter
Luyao Cheng
Eva Dunn
Mark Alan Hemphill
Lin Jiang
Tyler Leppek
Sandra Montalvo
Mary Cirincione
David M. Colas
Jennifer Day
Chris Dowell
Sarah Fangman
Susan Hall
Darrell Kim Huffman
Lara Martino
Zach Nilsson
Jose Paez
Jian Shi
Han Tian
Cathy Sakas
Alison Scott
Marilyn Sobwick
Jenny Vander
Regina Rowland
SCAD Professor of
Design Management
Biomimicry Specialist
First and foremost, we would like to express our gratitude towards our participants from the
National Oceanic and Atmospheric Administration: Grays Reef National Sanctuary (Grays Reef)
and local community members who particpated to our events and lent us their time, open minds,
and creative genius.
Additionally, we thank our professor, Regina Rowland, for guiding us throughout this process and
for sharing her knowledge and wisdom so freely. We especially thank our fellow teammates for
mutual inspiration and support along this journey.
Special mention is warranted to Organizational Consultant and Game Designer, Sivasailam
Thiagarajan, whom we thank for his time, for sharing his experiences, for offering guidance and
playing games with us.
Table of Contents
Introduction.................................................9
Scoping..........................................................17
Discovering
23
Creating
37
Evaluating
59
Appendix
65
References
114
Figure 1. Giant basket star.
INTRODUCTION
INTRODUCTION
For us, creativity is the foundation for turning new and

imaginative ideas into reality.
The creative process is characterized by the ability to perceive the

world in new ways, to find hidden patterns, to make connections
between seemingly unrelated phenomena, and to generate solutions
(Naiman, 2014). The ability to be creative is innate and can also
be cultivated through collaborative experiences facilitated in
structured settings. These experiences involve multi-sensory
creative engagement methods for stimulating head, heart and
hands, thereby leading teams to innovative solutions. It is
our experience that SCADs collaboration with Grays Reef
on this project has exposed us to new ways of knowing.
INTRODUCTION
Project Participants
Cathy Sakas
Chair of the Board of Trustees,

Grays Reef Foundation
Design Charette Participant
Visioning Participant
Figure 2. Photo of Cathy Sakas.
Sarah Fangman
Superintendent, Grays Reef

Figure 4. Photo of Sarah Fangman.
Alison Scott
Program Specialist, Grays Reef

Figure 6. Photo of Alison Scott.
10
INTRODUCTION
Jennifer Day
Deputy Superintendent, Grays Reef

Figure 3. Photo of Jennifer Day.
Jenny Vader
Pluym Research Technician, NOAA

Figure 5. Photo of Jenny Vader.
David M. Colas
Community Member
Figure 7. Photo of David M. Colas.
Lara Martino
Community Member
Figure 8. Photo of Lara Martino.
Chris Dowell
Photography M.F.A. Candidate

Figure 10. Photo of Chris Dowell.
Darrell Kim Huffman

Community Member
Figure 12. Photo of Darrell Kim Huffman.
Marilyn Sobwick
Board Member, Grays Reef Foundation

Figure 9. Photo of Marilyn Sowick.
Susan Hall
Dolphin Project Volunteer

Figure 11. Photo of Susan Hall.
Mary Cirincione
Dolphin Project Volunteer

Figure 13. Photo of Mary Cirincione.
PROJECT PARTICIPANTS
11
The Design Team

Brittney Boudwin
Design for Sustainability
M.A. Candidate
Savannah, GA
Charette Design Manager
Figure 14. Photo of Brittney Boudwin.
Mark Alan Hemphill

Industrial Design
M.F.A. Candidate
Design Management
M.A. Candidate
Cary, NC
Biomimicry Guy, Facilitator
Figure 16. Photo of Mark Alan Hemphill.
Zach Nilsson
M.A. Design for Sustainability

Design Management
M.A. Candidate
Statesville, NC
Sensei in training...(facilitator)
Figure 18. Photo of Zach Nilsson.
12
INTRODUCTION
Dionis Carter
Fibers
B.F.A. Candidate
Sherborn, MA
Photographer, Facilitator
Figure 15. Photo of Dionis Carter.
Lin Jenny Jiang

Design Management
M.F.A Candidate
Yangzhou, China
Observer, Scribe
Figure 17. Photo of Lin Jiang.
Jose Paez
Design Management
M.F.A. Candidate
Miami, Florida
Facilitator, Game Master
Figure 19. Photo of Jose Paez.
Luyao Cheng
Industrial Design
M.F.A. Candidate
Beijing, China
Observer, Facilitator
Figure 20. Photo of Luyao Cheng.
Tyler Leppek
Design Management
M.A. Candidate
Bradenton, FL
Strategic Visioning Workshop Design
Manager
Figure 22. Photo of Tyler Leppek.
Jian Shi
Indusrial Design
M.F.A. Candidate
Hangzhou, China
Floater, Art Director
Figure 24. Photo of Jian Shi.
Eva Dunn
Design Management
M.F.A. Candidate
Chicago, IL
Documentation Manager
Figure 21. Photo of Eva Dunn.
Sandra Montalvo
Design Management
M.F.A. Candidate
Bradenton, FL
Facilitator, Visual Editor
Figure 23. Photo of Sandra Montalvo.
Han Tian
Industrial Design
M.F.A Candidate
Wuhan, China
Photography, Videography,
Co-Facilitator
Figure 25. Photo of Han Tian.
THE DESIGN TEAM
13
Essential Elements:
Biomimicry
DesignLens
BIOMIMICRY
Our Process:
The practice of biomimicry embodies

three interconnected, but unique
ingredients; the three Essential
Elements of Biomimicry represent the
foundation of the biomimicry meme.
By combining the essential elements
together, bio-inspired design becomes
biomimicry:
Biomimicry is the conscious

emulation of natures genius. It is an
interdisciplinary approach that brings
together two often disconnected
worlds: nature and technology,
biology and innovation, life and
design. The practice of biomimicry
seeks to bring the time-tested
wisdom of life to the design table to
inform human solutions that create
conditions conducive to life. At its
most practical, biomimicry is a way
of seeking sustainable solutions by
borrowing lifes blueprints, chemical
recipes, and ecosystem strategies. At
its most transformative, biomimicry
connects us in ways that fit, align, and
integrate the human species into the
natural processes of Earth
(Baumeister, 2013).
The ethos element forms the

essence of our ethics, our
intentions, and our underlying
philosophy for why we practice
biomimicry. Ethos represents our
respect for, responsibility to, and
gratitude for our fellow species
and our home.
The (re)connect element

reinforces the understanding that,
while seemingly separate, people
and nature are actually deeply
intertwined. We are nature.
(Re)connecting is a practice
and a mindset that explores and
deepens this relationship between
humans and the rest of nature.
Figure 26. Essential elements. 2013, Biomimicry 3.8.
14
INTRODUCTION
The emulate element brings the

principles, patterns, strategies,
and function found in nature to
inform design. Emulation is about
being proactive in achieving
the vision of humans fitting in
sustainably on Earth (Baumeister,
2013).
Life Principles
Lifes Principles are design lessons from nature. Based on the recognition
that Life on Earth is interconnected and interdependent, and subject to the
same set of operating conditions, Life has evolved a set of strategies that have
sustained over 3.8 billion years. Lifes Principles represent these overarching
patterns found amongst the species surviving and thriving on Earth. Life
integrates and optimizes these strategies to create conditions conducive to
life. By learning from these deep design lessons, we can model innovative
strategies, measure our design against these sustainable benchmarks, and
allow ourselves to be mentored by natures genius using Lifes Principles as
our aspirational ideals (Baumeister, 2013).
Figure 27. Lifes Principles. 2013, Biomimicry 3.8.
Biomimicry Thinking
Biomimicry Thinking provides context to where,

how, what, and why biomimicry fits into the process of any discipline or
any scale of design. While akin to a methodology, Biomimicry Thinking
is a framework that is intended to help people practice biomimicry while
designing anything. These are four areas in which a biomimicry lens provides
the greatest value to the design process (independent of the discipline in
which it is integrated): scoping, discovering, creating, and evaluating.
Following the specific steps within each phase helps ensure the successful
integration of lifes strategies into human designs (Baumeister, 2013).
Figure 28. Biomimicry Thinking. 2013, Biomimicry 3.8.
OUR PROCESS
15
Figure 29. Sandy Bottom.
16
SCOPING
SCOPING
In general, scoping occurs prior to actual design and

includes preparatory work determining the projects
challenges, collecting and analyzing the facts, setting goals,
and harmonizing the project team (Baumeister, 2013).
Through conversations with Grays Reef leadership, it became clear
that Biomimicry would be an ideal framework and process for
leveraging the wisdom of the local ocean ecosystem and applying
it to Grays Reefs challenge of strengthening connections
between Grays Reef and the community of Savannah. Once we
established the project challenge with Grays Reef, we moved
onto setting goals for two client engagement sessions as
well as a vision for the project as a whole.
SCOPING
17
CHALLENGE
Our
In July 2014, Grays Reef released a

new management plan identifying
the need to increase awareness
about the sanctuary. Grays Reef is
not well known, which has lead to a
lack of understanding amongst local
communities about the connections
between inland and coastal activities.
Research indicates that some actions
by coastal residents are having
negative impact on the reef. Improper,
excessive, and in some cases, illegal
disposal of trash and/or fertilizers into
the rivers has gradually depreciated
the water quality at Grays Reef. The
residents have missed the connection
between contaminant disposal and
reef degradation because they are
unaware of the reef and the role it
plays in the environment.
Along with awareness of the
sanctuary, Grays Reef leadership
aims for the reef to be a source of
pride for the coastal community.
They want to inspire them to
become good ocean stewards and
encouraging others to do the same.
Community education programs
have been designed to inspire people
to carry forward their stewardship
of and passion for Grays Reef when
practicing other aspects of their lives.
18
SCOPING
Figure 30. Photo of community interaction with Grays Reef.
DESIGN
STATEMENT
The
The final design should comprise a communication strategy which forges a greater connection (physically and
emotionally) between the local community and Grays Reef. As a result of the strategy, community members will
learn about the reefs ecosystem dynamics, and be able to recognize their role in the whole system. Knowing
the consequences of individual and group behavior will enable the public to make more informed choices in their
actions. Ultimately, this strategy (when manifested) should help the Savannah community feel more connected to the
purpose of Grays Reef: to protect first and share second this incredible swath of nature.
Figure 31. Photo of a diver picking up trash around Grays Reef.
THE SCOPING DOCUMENT
19
PROJECT VISION
The ultimate vision is a local public that is ocean-literate and Grays Reef-aware.
This public continuously adopts best practices of ocean stewardship through
volunteer work and financial donations, ultimately resulting in healthier offshore
habitats (especially Grays Reef).
connect with
FISHING
COMMUNITY
increase
FUNDING
20
SCOPING
DISCOVERY
Research Questions for
educate the
LOCAL
COMMUNITY
Humanistic:
What would a strategy look like that connects

the local community to Grays Reef?
Biologized:
How does nature (reef ecosystems in particular)

recruit?
LIFES PRINCIPLES
The Selected
EVOLVE TO
SURVIVE
adopt strategies that

incorporate long-term
transformation
1. Reshuffle Information
Share knowledge within and across
organizational boundaries to create
new patterns of meaning.
2. Integrate the Unexpected
Incorporate seemingly unrelated
information on audience dynamics
(other perspectives or contexts).
3. Replicate Strategies that Work
Explore similar situations and repeat
successful approaches (literally or
metaphorically).
ADAPT TO
CHANGING
CONDITIONS
periodically reassess
efficacy and alter
strategy accordingly
BE LOCALLY
ATTUNED
& RESPONSIVE
be aware of and see
opportunity in
social context
BE RESOURCE
EFFICIENT
seek high impactyet

low inputstrategies
1. Incorporate Diversity
Include multiple approaches to reach
target audiences.
1. Leverage Cyclic Processes

Take advantage of phenomena that
repeat themselves.
1. Use Low Energy Processes

Minimize energy consumption by
using available resources.
2. Maintain Integrity Through

Self Renewal
Continually add energy and ideas to
grow, sustain or heal the system
as appropriate.
2. Use Readily Available Materials

and Energy
Use volunteers and/or strategies from
other sanctuaries that have addressed
a lack of public awareness.
2. Use Multi-Functional Design

Meet multiple needs with one
elegant solution.
3. Embody Resilience through

Variation, Redundancy
and Decentralization
Reach audiences through multiple,
diverse, and dispersed means.
3. Use Feedback Loops

Consistently check for changes in
awareness and attune strategies to
the new context.
4. Cultivate Cooperative
Relationships
Find partners with whom to engage
in win-win interactions.
3. Recycle All Materials

Reframe the strategys waste as
materials and energy for
another process.
4. Fit Form to Function
Shape strategies according to
their purpose.
THE SCOPING DOCUMENT
21
Figure 32. French Angelfish swimming in the Caribbean Sea.
22
DISCOVERING
DISCOVERING
While some may blend research commonly in the

discovering phase with the background assessment of the
scoping phase, we tease them apart here to demonstrate
the unique value that biomimicry thinking brings to the
research aspect of the discovering phase (Baumeister,
2013).
Once the humanized design question was posed, we
translated that question into the language of nature. We began
by asking how does nature recruit?, focusing specifically on
reef ecology. We discovered diverse recruitment strategies
modular pieces of wisdom for Grays Reef leadership to
apply while formulating their communication strategy.
DISCOVERING
23
Figure 33. Sea star.
24
DISCOVERING
Sea Star
Echinaster spinulosus
Function:
To eat.
Strategy:
Pry open preys shell and deploy stomach within.
Mechanism:
Once sea stars envelop sessile prey (e.g. mussels), their hydraulic
feet pry open its shell. The sea star then deploys its stomach into
the shell of the living mussel, releasing chemicals to create a
nutrient-rich soup which can be quickly absorbed.
Design Principle:
Our design should deploy its internal structure into other

structures to access resources within.
Amie, F. (2014). Sea star time-lapse: Eating mussel. Retrieved from http://www.shapeoflife.org/video/echinoderms-sea-star-time-lapse-eating-mussel
FUNCTION CARDS
25
Figure 34. Lemon shark and remoras fish.
26
DISCOVERING
Remora
Echeneis
Function:
To breathe.
Strategy:
Attach to objects that induce a current.
Mechanism:
By using the suction cup on its head, the remora attaches itself to sharks,
rays and other large fish. The moving organisms provide a current which
remoras need to breath and obtain their food.
Design Principle:
Our communication strategy should attach itself to larger, more

powerful, trends, strategies and organizations for broader access
to resources.
Leao, M. (2002). Animal diversity web. Remora Remora. Retrieved from http://animaldiversity.org/accounts/Remora_remora/
FUNCTION CARDS
27
Figure 35. Spotted cleaner shrimp.
28
DISCOVERING
Giant Anemone
Condylactis gigantea
Function:
To attract small cleaner organisms.
Strategy:
Protect small cleaning organisms from predators.
Mechanism:
Nematocysts (stinging devices) of anemones may initially sting shrimp but

over time they become immune to the sting. The shrimp clean the anemone
by picking off debris and parasites, simultaneously receiving sustenance
and protection (via the stinging nematocysts) from potential predators.
Design Principle:
Our design should incorporate an initial sting before providing

permanent protection and resources to participants.
Mariscal, Richard N. Behavior of Symbiotic Fishes Ans Sea Aneomes. In Behavior of Marine Animals: Vertebrates, 2:327 337. New York, London: Plenum Press, 1972.
FUNCTION CARDS
29
Figure 36. Whale shark passed by drifting sargassum with colony of minnows.
30
DISCOVERING
Sargassum Sea Weed
Sargassum muticum
Function:
To collect sunlight.
Strategy:
Maintain positive buoyancy to maximize sunlight exposure.
Mechanism:
As light passes through the water column, it is absorbed (deeper water

receives less sunlight). In the summer months (when days are longer),
sargassum increases its production of small air bladders called vesicles.
These vesicles act like miniature buoys, keeping the sargassum afloat and
well-positioned to convert sunlight to chemical energy via photosynthesis.
Design Principle:
Our design should maintain buoyancy to avoid diffusion of

resources.
Winn, H. E., Olla, B. L. (1972). Behavior of marine animals: Current perspetives in research. New York, NY: Plenum Press.
FUNCTION CARDS
31
Figure 37. Sea cucumber.
32
DISCOVERING
Sea Cucumber
Holothuroidea
Function:
To gather food.
Strategy:
Process sand.
Mechanism:
Sea cucumbers small tubular feet continuously shovel sand into their
mouths. Once ingested, organic matter from the sand is digested, and the
sand particles are excreted back on to the ocean floor.
Design Principle:
Our design should continuously sift through abundant materials, extracting

small quantities of value.
Echinoderms: The Ultimate Animal. Echinoderms: The Ultimate Animal. Shapes of Life, (n.d.) Web. 05 Feb. 2015.
FUNCTION CARDS
33
Figure 38. Jellyfish.
34
DISCOVERING
Jellyfish
Chironex fleckeri
Function:
To find food.
Strategy:
Measure an environmental indicator to associate contexts with food.
Mechanism:
Photoreceptors in the jellyfishs eyes can detect light from dark. The
jellyfish associates the absence of light with the presence of zooplankton
(nocturnal predators of phytoplankton).
Design Principle:
Our design should leverage associations

between specific conditions and behaviors.
Twenty-four eyes but no brain. (2013, July 23). In Earth history online. Retrieved from http://www.earthhistory.org.uk/corals-and-jellies/box-jellyfish
Timothy, S. (2012, February 26). Chironex fleckeri. Retrieved from http://animaldiversity.org/accounts/Chironex_fleckeri/
FUNCTION CARDS
35
Figure 39. Coral reef polyps.
36
CREATING
CREATING
The creating stage is the high profile piece of designing;

it results in a new human product or design (Baumeister,
2013).
During the creation phase, diverse minds converge towards a
shared vision. Grays Reef and SCAD collaborated to populate two
all-day facilitation sessions with passionate and open individuals
ready to do just that. The two events focused on prototyping and
execution, respectively, with playful activities generating serious
content throughout. By the end of the creation phase, a
communication strategy took form.
CREATING
37
THE DESIGN CHARETTE

Part One:
Our first engagement took participants on a journey of building and storytelling. Sensory
experiences were designed to elicit or augment expressions. Silent collaborative construction
and dance-infused discourse were two of many activities designed to help Grays Reef leadership
address their public engagement challenges. Outcomes of the day included opportunity
statements, strategic objectives, and visual documentation of the path taken along the way.
GLANCE
The Day at a
Our team worked hard to design,

facilitate and document our first
engagement. The entire day was
captured in a video to share the
experience, check it out:
http://youtu.be/i_h2IVX6x0I
Figure 40. A screenshot of the Design Charette Video.
38
CREATING
OVERVIEW OF EVENTS
Design
Principles
Kinesthetic
Modeling
Storyboarding
Prototyping
9:4511:20 AM

Welcome
Knowledge Hunt and Hellos
Biomimicry Design Principles
Breather
11:251:15 PM
Kinesthetic Modeling Introduction

Model Building
Model Debrief
1:206:25 PM

Lunch
Structured Stretch
Warm Up Activity
Priming the Pump
Storyboarding
6:459:45 PM

Breather
Dinner
Structured Stretch
Prototyping
Next Steps
Goodbye
PART ONE: THE DESIGN CHARETTE
39
Figure 41. Luyao, Kim and Jenny working on design principles.
40
CREATING
Figure 42. Jenny building kinesthetic model.
41
Figure 43. Close up of kinesthetic modeling.
MODELING
Kinesthetic
During the kinesthetic model building,

participants became intuitively
immersed in their design challenge.
Using random objects while working
in silence, participants collaboratively
built a three-dimensional model that
represented what a strategy might
look like that connected the local
Savannah community to Grays Reef.
After the model build, participants
verbally ascribed meaning to all
of the physical parts and pieces of
the model, identifying entities and
relationships within the system of
the design challenge. The result
was a tangible exploration of the
design challenge that served as a
foundational reference throughout
the design charette.
42
CREATING
Figure 44. Cathy and other participants during Pass Around the Story activity.
43
Figure 45. Chris, Dionis, and Luyao bringing their kinesthetic model to the board as a visual story.
44
CREATING
3-D to 2-D
Using the outcome of the kinesthetic model, participants reframed their ideas two-dimensionally through story-based
activities that encouraged drawing and writing as a means to express ideas. Reiterating these methods helped to
refine thoughts as the participants moved towards defining a design opportunity.
Figure 46. Visual storyline of one groups interpretation of kinesthetic model.
45
CUT LOOSE
Everybody
Figure 47. Cathy and Kim during This Is Not A...
46
CREATING
A change in environment and pace was an opportunity to think outside of the box during an activity called, This is
not a Participants soaked up the sunshine while passing around random objects and describing them as something
other than what they were. Exploring lateral thinkingwhere sometimes deliberate irrelevant information is
soughtis a way to restructure neural pathways and construct new ones.
Figure 49. Participants review Lifes Principles.
REVIEW
Biomimicry
Participants assessed the function of

many species found in Grays Reef
that self-organize mutually beneficial
relationships that they can apply
to their systems. The participants
paused throughout the day to see if
the design opportunities they were
exploring responded to Biomimicrys
Lifes Principles.
Figure 48. Alison and Jenny story boarding during 4 Scenes.
47
STRATEGIC VISIONING WORKSHOP

Part Two:
In order to develop the prototype of a communication strategy from the first Charette, into a set
of experiences and activities in time, Grays Reef leadership needed to take visual action. Similar
to the first workshop, swaths of paper and scores of markers adorned the rooms, providing the
physical materials necessary to document each facilitated activity. The workshop centered around
the completion of three maps based on maps created by David Sibbet and his consulting group the
Grove. The Design Team created their own versions of the maps and designed activities that aided
in the participants completion of the maps. These activities addressed team dynamics, visualization,
evaluation, energization and planning (in large part through nautical metaphors). While time
prevented the completion of the full workshop, Grays Reef leadership now has the capacity to
recreate, for themselves and their organization, project visioning strategies in a playful way.
GLANCE
The Day at a
The continuation of our efforts

to facilitate the ideation of a
new strategy for Grays Reef are
documented in the following video,
check it out at the following link:
http://youtu.be/3Y-q2RJUg9E
Figure 50. A screenshot of the Strategic Visioning Workshop Video.
48
CREATING
OVERVIEW OF EVENTS
Sharing the
Vision
The Maps
Casting off
Vision Map
Vision
10:0010:55 AM
Welcome
Orientation
Team Building
Challenges:
Supports:
Five Bold Steps

Values:
Casting
Off
11:001:00 PM
Mandalla
Thiagis 35
Lifes Principles Checkpoint
Figure 51. Casting Off map.

Hoisting the Sails The Game Plan
Other
Objectives
Stages
Tasks
Primary
Objectives
Target
Crew
Resources
Hoisting the
Sails
Charting
the Course
1:154:40 PM

Lunch
Structured Stretch
Warm Up Activity
Rotating Hat Activity
Challenges
Figure 52. Hoisting The Sails map.

Charting The Course
Activity
Tracks:
Crew Name:
Mile Markers:
4:457:00 PM

Our True North:
Kinesthetic String Timeline

Closing
Transformative 360 Review
Challenges:
Figure 53. Charting The Course map.
PART TWO: THE STRATEGIC VISIONING WORKSHOP
49
Figure 54. Cathy, Mary, Susan, and Jennifer during the visioning workshop warm up, Practice What You Preach.
50
CREATING
Figure 55. Cathy, Sarah, and Susan creating their visions for success during the Mandala activity.
51
Figure 56. Marilyn transferring her vision to the wall.
VISION
Seeing the
Participants to united in their vision

of what it would look and feel like
once they achieved their goal during
their completion of the Casting Off
map. They worked through a process
of collaboratively prioritizing the
radical steps they would need to
take to achieve success. Then, using
the second Hoisting the Sails map,
participants worked together to
establish the objectives of their goal
and declared success factors, against
which to measure progress.
52
CREATING
Figure 57. Sarah and Jian during the structured stretch.
BREATHER
Figure 58. Jennifer during the structured stretch.
Another sunny day provided the

opportunity for participants to enjoy
a mental reprieve as they moved
through a series of physical stretches
aimed at invigorating and energizing
the collective group.
53
Figure 59. Jennifer, Dionis, Jose, and Marilyn discussing their kinesthetic timeline.
54
CREATING
AHEAD
The Road
Participants collaborated in establishing a physical timeline in which to implement their strategy. During this tactile
activity, facilitators encouraged the participants to acknowledge and explore the players and resources necessary
for successful execution of their vision. Participants were also encouraged to considered the greater ecosystem that
might impact their vision.
Figure 60. Group discussing next steps at the end of the visioning workshop.
55
PLAN OF ACTION
Continuing the work from the visioning session, participants crafted a three-track action plan to codify and execute
the results of the two part engagement with the Design Team. The resulting communication strategy was broken
down into: inform community; create visual presence and inspire community to contribute. The three tracks served
both to categorize existing organizational activities and to point out new opportunities for action (photography
training for divers, partnering with the YMCA, etc.). Checkpoints delineated specific goals along the way towards their
ultimate vision: community expertise, pride and investment in Grays Reef.
Figure 61. Action plan produced by client.
56
CREATING
57
Figure 62. Soft corals like this red gorgonian sea fan flourish in Raja Ampats swift currents.
58
EVALUATING
EVALUATING
Evaluating is essentially ensuring youve designed with

nature in mind (Baumeister, 2013).
The evaluation phase serves as a checkpoint for reflection, making
sure designs posed in the creation stage align with our Biomimicry
processs and patterns proven in nature. The selected Biomimicrys
Lifes Principles served as a rubric for self-assessment, and each
supported or raised points about aspects of the design that
required further examination.
EVALUATING
59
LIFES PRINCIPLE
REVIEW
Selected Biomimicrys
Strategies in the action plan were given one

of three stoplights based on the chosen Lifes
Principles: green for comprehensive inclusion,
yellow for limited inclusion or red for incomplete
inclusion. The stoplighting method helped
Grays Reef leadership to discern viable and
sustainable opportunities within the action plan.
The strategies that showed the least inclusions
sparked conversation among participants about
internal processes and the overall purpose of
Grays Reef while champion strategies and goals
gave them a focused and supportive start.
EVOLVE TO
SURVIVE
adopt strategies that

incorporate long-term
transformation
Reputable feedback is
forthcoming in the form of
a social science study, and
plans exist for real-time
input during presentations
(via clickers), but a method
to embody that feedback
remains nebulous.
1. Reshuffle Information
Share knowledge within and across organizational boundaries to create
new patterns of meaning.
Sanctuary advisory committee advises from an external perspective,
but communication is still largely directional.
2. Integrate the Unexpected

Incorporate seemingly unrelated information on audience dynamics
(other perspectives or contexts).
The plan does not specifically apply unexpected outcomes to
future activities.
3. Replicate Strategies That Work

Explore similar situations and repeat successful approaches (literally
or metaphorically).
Visual presence is prioritized and specific, drawing from others
success with photos, video, and physical interactions.
60
EVALUATING
ADAPT TO
CHANGING
CONDITIONS
periodically reassess
efficacy and alter
strategy accordingly
As a government
organization, adaptation is
constrained by regulation
and politics. Feedback
per event or medium will
be incorporated towards
future iteration, but deeper
changes will likely face
friction. However, efforts
are being directed towards
alternate systems of resource
acquisition (to address the
fickle nature of grants).
1. Incorporate Diversity
Include multiple approaches to reach target audiences.
Education, fishing, and diving communities have tailored communications (which differ
from those directed at the general public). However, communcation channels are culturally
homogeneous.
2. Maintain Integrity Through Self Renewal

Continually add energy and ideas to grow, sustain or heal the system
as appropriate.
Increased recruitment of volunteers and donors is explicit, specific financial goals are
stated, but revenue and personnel streams could be more numerous and diverse.
3. Embody Resilience through Variation, Redundancy and Decentralization

Reach audiences through multiple, diverse, and dispersed means.
Government regulation prevents non-NOAA employees from communicating with the
public more intimately on their behalf. Some redundant media are incorporated, but
coordination of that activity is highly centralized.
FINAL BIOMIMICRYS LIFES PRINCIPLES REVIEW
61
BE LOCALLY
ATTUNED
& RESPONSIVE
be aware of and see
opportunity in
social context
The Hollings attitudes and

perceptions study and the social
media engagement plan are both
aimed at community atonement.
Perhaps more significantly,
the Grays Reef National
Marine Sanctuary website
itself is shifting to a responsive
design. However, strategies for
responding to feedback have not
been articulated and might even
be inherently limited to a small
subset of the community.
1. Leverage Cyclic Processes

Take advantage of phenomena that repeat themselves.
No mention is made of piggy-backing efforts on predictably recurring external events.
2. Use Readily Available Materials and Energy

Use volunteers and/or strategies from other sanctuaries that have
addressed a lack of public awareness.
Physical materials and staff member attention, though, require significant effort
to obtain. Also, volunteer commitment is often contextually conditional.
3. Use Feedback Loops

Consistently check for changes in awareness and attune strategies to
the new context.
Long term and real-time feedback mechanisms are being implemented. However,
deep understanding of the community might be missing.
4. Cultivate Cooperative Relationships

Find partners with whom to engage in win-win interactions.
Success is contingent upon relationships with universities, museums, libraries, schools,
the YMCA, marine industries and other local organizations.
62
EVALUATING
BE RESOURCE
EFFICIENT
seek high impact yet

low input strategies
Volunteers must be trained, social

media managed, presentations
composed, and fundraising events
planned. In short, progress will
be made, but directly as a result
of intense attentional input from
staff members. On the flip side,
stringent funding constraints
naturally engender frugal action.
1. Use Low Energy Processes

Minimize energy consumption by using available resources.
Pressure on internal resources is extensive, and time seems scant.
2. Use Multi-Functional Design

Meet multiple needs with one elegant solution.
Visual content could simultaneously inform and elicit contributions from community
members. Also, funds stored in the foundation can be used more flexibly than grants.
3. Recycle All Materials

Reframe the strategys waste as materials and energy for another process.
Leftover funds, volunteer contact information, educational materials, and many other
components involved with communication are recycled.
4. Fit Form to Function

Shape strategies according to their purpose.
The patterns of communication do not necessarily represent the ways in which currently
unengaged locals prefer to interact.
FINAL BIOMIMICRYS LIFES PRINCIPLES REVIEW
63
Figure 1a. Common lionfish at Shaab El Erg reef in the Egyptian Red Sea.
64
APPENDIX
APPENDIX 1.0
For us, creativity is the foundation for turning new and
imaginative ideas into reality.

Appendix 1a: Function Cards..................................................................6684

Appendix 1b: Charette Detailed Design Document .......................8586
Appendix 1c: Charette Activity Write-Ups.........................................87-97
Appendix 1d: Strategic Visioning Detailed Design Document...98-103
Appendix 1e: Strategic Visioning Activity Write-Ups....................104-113
Appendix 1f: References............................................................................115
Appendix 1g: Tables and Figures...........................................................116-119
APPENDIX
65
FUNCTION CARDS
Biomimicry
The general objective of the discovering phase is to enter

the realm of divergent thought, where team members
broaden their perspectives to allow for a wide range of
ideas, inputs and influencesWhile market research is
often the driving input into most design processes, most
radical innovations come from outside of the norm, be
it visions of a possible future, completely unexpected
connections and inspirations, or purely brilliant insights.
In many ways, biomimicry thinking best serves radical
innovation because natural models generally arent
standard sources, yet natures strategies can provide very
compelling future visions and brilliant insights, proven by
3.8 billion years of R&D (Baumeister, 2013).
66
APPENDIX
Figure 2a. Function card preview. Grays Reef National Marine Sanctuary. Reprinted with permission.
Figure 3a. Potato cod and cleaner wrasse. 2005, Grays Reef National Marine Sanctuary.
Reprinted with permission.
Figure 4a. Figure 3. Yellow-margined moray eel with cleaner shrimp. Copyright 2005, Grays
Reef National Marine Sanctuary. Reprinted with permission.
SHARKNOSE GOBY
Elacatinus evelynae
BANDED CORAL SHRIMP
Function:
Function:
To signal availability
Attract eels or larger fish for cleaning service
Strategy:
Strategy:
Advertise cleaning services for larger fish by changing body color (so
that they are easily spotted on top of the coral)
Obtain high vantage point and wave to draw attention
Mechanism:
The shrimp advertise their cleaning service by perching near openings

of sponges while very noticeably lashing their long antennae. They do
this rhythmically, swaying back and forth and side to side (Hazlett, 1972)
(Humann et al., 1992).
Pigment cells or chromatophores change shape and size to signal

service offering of the goby. (Humann et al., 1992).
Design Principle:
Our design should include colorful advertisements that signal our
availability.
Humann, Paul, and Ned Deloach. (1992). Reef creature identification:

Florida, Caribbean, Bahamas. Jacksonville, FL: New

World Publications.
Stenopus hispidus
Mechanism:
Design Principle:
Our communication strategy should incorporate movement and occupy
a highly visible position.
Hazlett, Brian. (1972). Ritualization in marine crustacea. In behavior of

marine animals. New York, NY: Plenum Press.
Humann, Paul, and Ned Deloach. (1992). Reef creature identification:

Florida, Caribbean, Bahamas. Jacksonville, FL: New
World Publications.
FUNCTION CARDS
67
Figure 5a. Scamp (mycteroperca phenax). 2014, Grays Reef National Marine Sanctuary.
Figure 6a. Hermit crabs. 2007, Grays reef national marine sanctuary. Reprinted with permission.
Dardanus venosus
GROUPER
Elacatinus evelynae
HERMIT CRABS
Function:
Function:
To signal need for cleaning
To solicit protection
Strategy:
Strategy:
Execute movements slowly
Provide anemones mobility (and therefore increased access to food) in

exchange for their stinging capabilities against predators
Mechanism:
Mechanism:
In order not to appear aggressive, Groupers slowly approach potential

cleaning organisms and open their mouths to signal that they are
soliciting cleaning services.
Design Principle:
Our design should exhibit slow, deliberate, methodical behavior to signal
its intent to have mutualistic relationships with its audience.
Winn, H. E., Olla, B. L. (1972). Behavior of marine animals: Current pers

petives in research. New York, NY: Plenum Press.
In order to deter their natural predators (cephalopods), hermit crabs

cloak themselves in anemones. The hermit crabs mobility provides the
anemone with increased access to plankton-rich water. Once attached,
anemones produce carcinoecium, which enlarges the crabs normally
static shell (eliminating the need for it to change shells as it grows).
Design Principle:
Our design should offer travel to those who neutralize threats to the
communication strategy.
Williams, R. B., Cornelius, P. F. S., Hughes, R., & Robson, E. A. (1991).

Chemical recognition by hermit crabs of their symboiotic sea

anemones and a predatoryoctopus. Belgium: Kluwer Academ

ic Poblishers.
Darling, D. (n.d.). Symbiosis. Retrieved from http://www.daviddarling.
info/encyclopedia/S/symbiosis.html
68
APPENDIX
Figure 7a. Vase Sponge. Copyright 2014, Grays Reef National Marine Sanctuary. Reprinted
with permission.
Figure 8a. Sea of stars. 1996, Grays Reef National Marine Sanctuary. Reprinted with
permission.
Ircinia campana
BIOLUMINESCENT PLANKTON
Noctiluca scintillans, Ceratium furca,
Gonyaulax sp., Peridinium sp.
Function:
Function:
To obtain nutrients
To protect from predators
Strategy:
Strategy:
Induce a flow of plankton-rich seawater through the sponge
Light up to draw attention to predators higher up the food chain (in

order to protect from immediate predators)
STINKING VASE SPONGE

Mechanism:
Each pore of the sponge is internally lined with collar cells. The collar
cells have a sticky comb shape and a hair-like whip called a flagellum.
The flagella pump nutrient-rich water through the sponge; sticky collar
cells filter and ingest those suspended nutrients.
Design Principle:
Our design should induce a flow and incorporate a process to selectively
embrace value within that flow.
Vacelet, J., Fiala-Medioni, A., Fisher C. R., & Boury-Esnault, N. (1996).

Symbiosis between methane-oxidizing bacteria and a deep-sea

carnivorous cladorhizid sponge. Marine Ecology Progress
Series, 145, 77-85.
Bond, C. & Harris, A. K. (1988). Locomotion of sponges and its physical
mechanism. Journal of Experimental Zoology, 246, 271-284.
Mechanism:
At night, when the plankton is in dense clusters, the plankton detect
movement in the water by processing electrical signals through their
cell membrane. This cue signals the plankton to light up, therefore
exposing the threat to higher order predators. The planktons diet
consists of all of the compounds and enzymes that are needed to create
this bioluminescence. (Hammen, 1980)
Design Principle:
Our design should draw the attention of its predators predators as
needed.
Arnold, A., Draghici, M. (1999). Gonyaulax Bioluminescence. Retrieved

from http://www.mbari.org/staff/conn/botany/dinos/alimon/
biolumin.htm
FUNCTION CARDS
69
Figure 9a. Acorn barnacles. 2014, Alison Scott. Reprinted with permission.
ACORN BARNACLES
Semibalanus balanoides
BATFISH
Function:
Function:
To evaluate potential homes
To lure prey
Strategy:
Strategy:
Use temporary adhesives to allow time to try out potential habitats

before choosing a permanent location
Trick prey into approaching by offering an deceptively edible morsel
Mechanism:
The Batfish extends an appendage that resembles an edible organism.

This lure hangs directly in front of the Batfishs mouth; once the Batfishs
prey is close enough, the Batfish traps and eats it.
During the Cyprid larvae stage, the larvae probe substrates with their
antennae. The cyprid affords itself time to assess habitats (for presence of
adults, depth, texture, current, light, etc.) by temporarily attaching to the
surface. During this trial period, it uses a hydrophobic (water-fearing)
adhesive that degrades over time. Once the cyrid finds an optimal location,
it uses a different glue to permanently adhere itself to the substrate.
Design Principle:
Our design should incorporate temporary engagement structures to
assess long-term fit.
Fish, J. D. & Fish, S. (1996). A students guide to the seashore. Cambridge,

MA: Cambridge University Press.
White, N. (2001). Semibalanus balanoides: An acorn barnacle. Plym

outh, MA: Marine Biological Association of the United
Kingdom.
70
Figure 10a. 24 Strangest Animals Found In Water. 2014, Grays Reef National Marine Sanctuary.
APPENDIX
Ogcocephalus spp
Mechanism:
Design Principle:
Our design should lure its audience with offerings similar to what they
are known to consume.

Figure 11a. Oyster Restoration. 2014, Grays Reef National Marine Sanctuary. Reprinted with
permission.
Figure 12a. Sand tiger shark. 2006, Grays Reef National Marine Sanctuary. Reprinted with
permission.
Crassostrea virginica
SAND TIGER SHARK

Carcharias taurus
Function:
Function:
To attach in high current areas
To detect activity
Strategy:
Strategy:
Locate suitable attachment site during free-swimming larva stage
Utilize a dedicated vibration-sensing organ
Mechanism:
Mechanism:
During larval stages, the oyster crawls along the ocean bottom looking
for a suitable area for permanent attachment. The larva will use its
tubular foot to taste the substrata and sense environmental cues.
Larva swim freely until they attach to become sessile. It is only then
considered to be mature.
Sharks possess a lateral line which extends from the gills to the base of
the tail. This sensory organ is comprised of a complex network of holes
which lead to bundles of hair-like mechanoreceptors. These receptive
hair cells allow them to detect both the direction and rate of water
movement (factors which indicate the existence and suitability of prey).
Design Principle:
Design Principle:
OYSTERS
Our design should permit freedom of movement until a suitable location

is identified for permanent attachment.
Waller, T. (1981). Functional morphology and development of veliger

larvae of the European oyster, Ostrea Edulis Linne.

Washington, DC: Smithsonian Institution Press.
Our design should detect and navigate towards energetic vibrations.

George, R. Z. (2014, April 2). Lateral line system. Retrieved from http://

www.britannica.com/EBchecked/topic/331503/later
al-line-system
FUNCTION CARDS
71
Figure 13a. Red gorgonian sea fan flourish. 2011, Grays Reef National Marine Sanctuary.
SEA FAN REGIONS

Leptogorgia hebes
FIDDLER CRABS
Function:
Function:
To engage participants simultaneously
To attract a female mate
Strategy:
Strategy:
Provide multi part triggers for engagement
Advertise availability and fitness with size, motion, and sound of claw
Mechanism:
Mechanism:
Regal sea fans exhibit synchronous spawning (or compression of

spawning into a short period around the same time each year), to
maximize fertilization. Lunar patterns (Brazeau and Lasker 1989,
1990, Coma et al. 1995a) and seawater temperatures (Grigg 1977) are
environmental cues which could initiate spawning.
Male fiddler crabs have an enlarged right claw which they use to capture
the attention of nearby females. At low tide, males emerge from their
burrows. During daylight hours, males wave their claws to draw the
attention of females; at night, they rap them against a hard substrate to
auditorily signal their presence (Horch, Salmon, 1972).
Design Principle:
Design Principle:
Our design should entice participation with multi-part cues.

Beasley, S. E., Dardeau, M. R., & Schroeder, W. W. (2003). Reproductive

Biology of the Gorgonian Leptoprgia hebes (Verrill).

Retrieved from http://archive.rubicon-foundation.org/xmlui/
handle/123456789/4735
72
Figure 14a. Fiddler crab. 2007, Grays Reef National Marine Sanctuary. Reprinted with
permission.
APPENDIX
Uca minor
Our design should switch modes of communication according to

sensory restrictions or limitations.

Figure 15a. Leopard toadfish. 2010, Grays Reef National Marine Sanctuary. Reprinted with
permission.
Figure 16a. Sunlight and substrate influence marine organisms. 2006, Grays Reef National
Marine Sanctuary. Reprinted with permission.
Opsanus pardus
PHOTIC ZONE
Epipelagic Layer
Function:
Function:
LEOPARD TOADFISH
To attract mates
Strategy:
Increase amplitude and frequency of mating grunt when potential mates

are detected nearby w
Mechanism:
Leopard toadfish grunt often during aggressive encounters. However,

there is a specific grunt used by males to communicate their location and
availability to females. This grunting pattern increases in volume and
rate (grunts per minute) when females are detected in close proximity (2
meters).
Design Principle:
Our design should communicate louder and more frequently when

potential partners are nearby.

To involve primary consumers
Strategy:
Provide food and cover of darkness
Mechanism:
Phytoplankton reside in the photic zone, converting sunlight to energy.
Zooplankton feed on these producers, acting as nocturnal primary
consumers. Eating at night mitigates the risk of being detected by larger
predators.
Design Principle:
Our design should offer situations that provide resources in darkness.
Larry, M., Peter, W., Nancy, C. (2010, October 5). What lives in the sea?.

First census of marine life reveals thousands of new species.

Retrieved from http://www.whoi.edu/page.do?pid=95716&tid=
3622&cid=83408&c=2
FUNCTION CARDS
73
Figure 17a. Sandy Bottom. 2013, Grays Reef National Marine Sanctuary. Reprinted with
permission.
Figure 18a. Coral reef polyps. 2014, Grays Reef National Marine Sanctuary. Reprinted with
permission.
Dusky Flounder- Syacium papillosum
CORAL REEF POLYPS

Cnidaria
Function:
Function:
Strategy:
Strategy:
Mechanism:
Mechanism:
SANDY BOTTOM
To attract
Show true colors

Sand created from the weathering of rocks shows coloration patterns
according to the minerals within. Dusky flounder are attracted to sand
which resembles their own body coloration. Once settled, they bury
themselves in a thin layer of sand to enhance their integration.
Design Principle:
Our design should reflect our core elements to entice audiences who
resemble those elements.

To host
Provide structures that support others fundamental activities

Coral reefs branch in patterns which increases the surface area exposed
to light. This recruits microscopic algae, which provide the coral polyps
with both food and sun protection.
Design Principle:
Our design should create spaces that match the physical needs of
participants.
Nick, H. (2008). Optimizing exposure to sunlight: Stony corals. Retrieved

from http://www.asknature.org/strategy/04dea673a
8c0a77235a5136026041c9a#.VPpjklPF86l
Polyp. (2014, October 21). In Encyclopdia Britannica online. Retrieved

from http://www.britannica.com/EBchecked/topic/468956/
polyp
74
APPENDIX
Photo courtesy of Greg McFall
Figure 19a. Giant basket star. 2014, Grays Reef National Marine Sanctuary. Reprinted with
permission.
Figure 20a. Bottlenose dolphins. 2014, Grays Reef National Marine Sanctuary. Reprinted with
permission.
Astrophyton muricatum
BOTTLENOSE DOLPHINS
Tursiops truncatus
Function:
Function:
Strategy:
Strategy:
Mechanism:
Mechanism:
GIANT BASKET STAR

To gather plankton
Temporarily unravel branching arms away from core

At night, the basket star unfurls its branched arms into the current
(while remaining attached to the coral/sponge they inhabit). The basket
star uses the high surface area of these arms to collect plankton that
drifts past. Once prey adheres to a mucous coated arm, it curls back
up into the center disk where food is delivered (Hendler, 1982) (Barnes
1980).
Design Principle:
Our design should strategically unfurl branching structures of

engagement towards social currents.
To catch prey
Use acoustic communication to coordinate hunt amongst individuals
Dolphins have a transmitter in the lower jaw that emits a 120 kHz signal
which can permit coordination of hunting.
Design Principle:
Our design should selectively signal its intentions in order to establish

strategic roles amongst peers.
Dolphin echolocation. (2015, March 2). In CopyScape online. Retrieved

from http://www.dolphins-world.com/dolphin-echolocation/
Hendler, G. (1982). Slow flicks show star trick: Basketstar feeding

behavior. Hanover, NH: University Press of New England.
Barnes, R. (1980). Echinoderm. Invertebrate Zoology. Philadelphia, PA:

Saunders College.
FUNCTION CARDS
75
Figure 21a. Blue whale. 2014, Grays Reef National Marine Sanctuary. Reprinted with
permission.
Figure 22a. Octopus vulgaris. 2006, Grays Reef National Marine Sanctuary. Reprinted with
permission.
Balaenoptera musculus
COMMON OCTOPUS
Octopus vulgaris
Function:
Function:
To communicate across large distances
To attract mates
Strategy:
Strategy:
Emit very low-frequency sounds
Change skin color and pattern
Mechanism:
Mechanism:
The very low-frequency (i.e. large wavelength) courtship songs of Blue

Whales are among the most powerful biological sounds in the ocean.
Thier large body sounds allows them to emit low sound frequencies
(Knowlton, 2010). Low frequency sound travels greater distances
uninterrupted, thereby enabling females to select from a larger pool of
potential mates (based on their songs).
Octopus have thousands of colored pigment sacs that are controlled by

tiny muscles (which are in turn controlled by the nervous system). Open
sacs expand the area of pigment making the skin appear darker. Closed
sacs cause the color to disappear. Specific patterns and colors (unique
to a given species) are used to indicate mating interest (Knowlton, 2010)
(Barnes, 1980)
Design Principle:
Design Principle:
Our design should communicate via deep tones to avoid impediments

over vast distances.
Our design should emit patterns of light to express specific interests.
BLUE WHALE
Dilum, A. (2013, December 5). Aerial image of a giant blue whale. Re

trieved from http://yourshot.nationalgeographic.
com/photos/2519240/?source=gallery
76
APPENDIX
Barnes, R. (1980). Echinoderm. Invertebrate Zoology. Philadelphia, PA:

Saunders College.
Figure 23a. Spotted cleaner shrimp. 2007, Grays Reef National Marine Sanctuary. Reprinted
with permission.
Figure 24a. Lemon shark and remoras fish. 2005, Grays Reef National Marine Sanctuary.
Condylactis gigantea
REMORA
Echeneis
Function:
Function:
To attract small cleaner organisms
To breathe
Strategy:
Strategy:
Protect small cleaning organisms from predators
Attach to objects that induce a current
Mechanism:
Mechanism:
GIANT ANEMONE
Nematocysts (stinging devices) of anemones may initially sting shrimp

but over time they become immune to the sting. The shrimp clean the
anemone by picking off debris and parasites, simultaneously receiving
sustenance and protection (via the stinging nematocysts) from potential
predators (Humann et al., 1992).
Design Principle:
Our design should incorporate an initial sting before providing
permanent protection and resources to participants.

By using the suction cup on its head, the remora attaches itself to
sharks, rays and other large fish. The moving organisms provide a
current which remoras need to breath and obtain their food.
Design Principle:
Our communication strategy should attach itself to larger, more
powerful, trends, strategies and organizations for broader access to
resources.
Leao, M. (2002). Animal diversity web. Remora Remora. Retrieved from
http://animaldiversity.org/accounts/Remora_remora/
FUNCTION CARDS
77
Figure 25a. Whale shark and sargassum. 2009, Grays Reef National Marine Sanctuary.
Figure 26a. Sea star. 2014, Grays Reef National Marine Sanctuary. Reprinted with permission.
Echinaster spinulosus
SARGASSUM SEAWEED
Sargassum muticum
SEA STAR
Function:
Function:
Strategy:
Strategy:
To collect sunlight
Maintain positive buoyancy to maximize sunlight exposure
Pry open preys shell and deploy stomach within
Mechanism:
Mechanism:
As light passes through the water column, it is absorbed (deeper

water receives less sunlight). In the summer months (when days are
longer), sargassum increases its production of small air bladders called
vesicles. These vesicles act like miniature buoys, keeping the sargassum
afloat and well-positioned to convert sunlight to chemical energy via
photosynthesis.
Design Principle:
Design Principle:
Our design should maintain buoyancy to avoid diffusion of resources.


78
To eat
APPENDIX
Once sea stars envelop sessile prey (e.g. mussels), their hydraulic feet
pry open its shell. The sea star then deploys its stomach into the shell
of the living mussel, releasing chemicals to create a nutrient-rich soup
which can be quickly absorbed.
Our design should deploy its internal structure into other structures to
access resources within.
Shape of Life (PBS documentary)
Amie, F. (2014). Sea star time-lapse: Eating mussel. Retrieved from http://
www.shapeoflife.org/video/echinoderms-sea-star-time-lapse-
eating-mussel
Figure 27a. Regal sea goddess. 2011, Grays Reef National Marine Sanctuary. Reprinted
with permission.
Figure 28a. Starry eyed hermit crab. 2014, Grays Reef National Marine Sanctuary. Reprinted
with permission.
Hypselodoris edenticulata
STARRY EYED HERMIT CRAB

Dardanus venosus
Function:
Function:
Strategy:
Strategy:
Mechanism:
Mechanism:
Design Principle:
Design Principle:
Nudibranch. (2015). In National Geographic Society online. Retrieved

from http://animals.nationalgeographic.com/
animals/invertebrates/nudibranch/
Brooks, W. R. (1989). Hermit crabs alter sea anemone placement patterns

for shell balance and reduced predation. Journal of experi

mental marine biology and ecology. Amsterdam, AN: Elsevier.
REGAL SEA GODDESS
To ward off predators

Highly visible coloration advertises presence
Nudibranchs derive their coloring from the food they eat, which helps in
camouflage, and some even retain the foul-tasting poisons of their prey
and secrete them as a defense against predators. Predators instantly
avoid nudibranchs or quickly learn (Knowlton, 2010) not to eat them.
Our design should transparently ingest poisonous nutrients.
To protect
Gather and place materials such as sponges and tunicates onto shell
Starry Eyed Hermit Crabs use their antennas to smell and taste for
materials in their surroundings to be used to decorate their shells.
A decorated shell allows the crabs to be concealed from predators.
(Knowlton, 2010)
Our design should strategically decorate itself with available materials.
FUNCTION CARDS
79
Figure 29a. Sea cucumber. 2013, Grays Reef National Marine Sanctuary. Reprinted with
permission.
Figure 30a. Jelly fish. 2014, Grays Reef National Marine Sanctuary. Reprinted with permission.
Chironex fleckeri
SEA CUCUMBER
Holothuroidea
JELLYFISH
Function:
Function:
To gather food
To find food
Strategy:
Strategy:
Process sand
Mechanism:
Sea cucumbers small tubular feet continuously shovel sand into their
mouths. Once ingested, organic matter from the sand is digested, and
the sand particles are excreted back on to the ocean floor.
Design Principle:
Our design should continuously sift through abundant materials,
extracting small quantities of value.
The Shape of Life | The Story of the Animal Kingdom. (n.d.). Retrieved

March 9, 2015, from http://www.shapeoflife.org/
80
APPENDIX
Measure an environmental indicator to associate contexts with food
Mechanism:
Photoreceptors in the jellyfishs eyes can detect light from dark. The
jellyfish associates the absence of light with the presence of zooplankton
(nocturnal predators of phytoplankton).
Design Principle:
Our design should leverage associations between specific conditions

and behaviors.
Susan, M. (2014, August 22). Seeing past the jellyfish sting. Retrieved

from https://www.sciencenews.org/article/seeing-past-jelly
fish-sting
Figure 31a. French Angelfish swimming in the Caribbean Sea. 2008, Grays Reef National
Marine Sanctuary. Reprinted with permission.
Figure 32a. Nesting ridley. 2014, Grays Reef National Marine Sanctuary. Reprinted with
permission.
Chaetodon ocellatus
LOGGERHEAD SEA TURTLE

Caretta caretta
Function:
Function:
Strategy:
Strategy:
Mechanism:
Mechanism:
SPOTFIN BUTTERFLYFISH
To insure against death
Draw predators attention to a non-essential body part
Spotfin Butterflyfish develop a pigmented eyespot on their dorsal fins.

This guides potential predators towards a non-essential body part.
(Knowlton, 2010)
Design Principle:
Our communication strategy should incorporate false eyes.


To have successful offspring

Return to the same nesting site
Every year the female Loggerhead Sea turtles return to the same nesting
place (where they were born). This is called natal homing. They use the
magnetic field to navigate back to the same beach each mating season. If
the turtle has survived this long, it assumes that its own birthplace will
be a successful location for their own offspring (Knowlton, 2010).
Design Principle:
Our design should revisit its origins to propagate.

FUNCTION CARDS
81
Figure 33a. Seaweed blenny. 2014, Grays Reef National Marine Sanctuary. Reprinted with
permission.
Figure 34a. Yellowline arrow crab. 2014, Grays Reef National Marine Sanctuary. Reprinted with
permission.
Parablennius marmoreus
YELLOWLINE ARROW CRAB

Stenorhynchus seticornis
Function:
Function:
Strategy:
Strategy:
Mechanism:
Mechanism:
Design Principle:
Design Principle:
SEAWEED BLENNY
To ensure survival of offspring
Guard fertilized eggs
Males are recruited as the guards for the fertilized eggs until the eggs
are mature enough to hatch. They stay within close proximity of the nest
and rarely leave (Rouch, 1995)
Our communication strategy should retain proximity to its output
during early development.
Cathy, B. (2010). Seaweed blenny. Retrieved from https://www.flmnh.ufl
edu/fish/Gallery/Descript/SeaweedBlenny/SeaweedBlenny
html
82
APPENDIX
To secure a home
Threaten bystanders with claws
Yellowline Arrow Crabs advertise to rivals that they will put up a fight
to secure their home. They will rapidly move their bright blue claws
outward to taunt rivals (Hazlett, 1972)
Our design should demonstrate a will to defend its domain.

Hazlett, Brian. (1972). Ritualization in Marine Crustacea. In Behavior of

Marine Animals. New York, NY: Plenum Press.
Figure 35a. Blue crab. 2014, Grays Reef National Marine Sanctuary. Reprinted with
permission.
Figure 36a. Common lionfish at Shaab El Erg reef in the Egyptian Red Sea. 2010, Grays
Reef National Marine Sanctuary. Reprinted with permission.
Callinectes sapidus
LIONFISH
Pterois volitans
Function:
Function:
Strategy:
Strategy:
Mechanism:
Mechanism:
BLUE CRABS
Find a mate
Concentrate specific hormones

Female crabs rely on hormones and environmental stimuli to attract
mates. As the crabs develop, the glandular tissues secrete hormones.
Once these hormones reach a particular concentration, it will trigger
molting, ovarian development and sexual behavior (Hammen, 1980).
Design Principle:
Our design should use a common metric to induce milestone events.

Hammen, C. S. Marine. (1980). Invertebrates, comparative Physiology.

Hanover, NH: University Press of New England.
To multiply
Migrate towards resources

Lionfish are dispersing up the East coast of the United States and
utilizing all of its resources in their wake. The lack of predators and
abundance of resources fuels this dispersion.
Design Principle:
Our communication strategy should encourage the exploration of

uncharted waters.
attracted to areas with few predators
Lionfish Biology Fact Sheet. (2011, May 31). In National oceanic and atmo

spheric administration online. Retrieved from http://oceanser
vice.noaa.gov/education/stories/lionfish/factsheet.html
FUNCTION CARDS
83
Figure 37a. Double-Crested Cormorant. 2013, Grays Reef National Marine Sanctuary.
Figure 38a. Jelly fish. 2014, Grays Reef National Marine Sanctuary. Reprinted with permission.
Chrysaora fuscescens
DOUBLE-CRESTED CORMORANT
Phalacrocorax auritus
JELLY FISH
Function:
Function:
Strategy:
Strategy:
Mechanism:
Mechanism:
To attract a mate
Vocalize while moving body in a way that emphasizes bright coloration
Male cormorants stand in front of their nest with their breast down
and bill and tail up. They show off their bright colors to potential female
mates by waving their wings and grunting.
Design Principle:
Our design should incorporate dancing to attract attention.


84
APPENDIX
To cohabitate
Offer protection
Juvenile fish (e.g. shrimp) swim within the Jellyfishs tentacles for protection from larger fish. By hitchhiking, the shrimp acquire protection
in regions of abundant food (as the jellyfish also like to feed in the photic
zone).
Design Principle:
Our design should provide safe enclosures for juveniles.

Susan, M. (2014, August 22). Seeing past the jellyfish sting. Retrieved

from https://www.sciencenews.org/article/seeing-past-jelly
fish-sting
DETAILED DESIGN DOCUMENT

Charette
Table 1a-1.
Charette Detailed Design Document.
DESIGN CHARETTE DETAILED DESIGN DOCUMENT
85

Charette Page 2
Table 1a-2.
Charette Detailed Design Document. (continued)
86
APPENDIX
DETAILED
ACTIVITY
WRITE-UPS
Charette
KNOWLEDGE HUNT + HELLOS
Introduction Activity | To verbalize expectations, worries, hopes and questions as well as allowing the charrette participants to calibrate themselves to the format and topic of the day.
Preparation
Write each of the following questions on a different colored notecard:

What are your expectations for the day?
What worries or concerns do you have about today?
What are you excited about for today?
How do you want to feel after today?
What questions do you have?
Create enough notecards for each of the participants to have their own. For example, if there
are 10 participants, each question will need to be written twice on two cards of the same
color.
Facilitation
As each participant arrives, give them a index card and a pen. Alternate colors as you hand
them out.
Instruct the participants to mingle and ask each other the question they have printed on their
index cards, recording the responses they collect on their note cards. (15 minutes)
Once all participants have arrived and everyone has had a chance to ask their question to a
couple of other participants, ask all those with the same colored index cards (same questions)
to group together and go over their feedback with each other. They will find commonalities
among the responses they received. (5 minutes)
Note:
After a few minutes of group discussion, ask the groups to present the question they had and
an insight or two (common thread, something interesting) to the other groups. (10 minutes; 2
minutes per group/question)
You may choose to display the index

cards during the charette; i.e., taped
or pin to the wall in a common area.
Duration: 30 mins
Materials: multi-colored index cards + pens/markers
The groups that were formed based

on index card color may now be used
to divide participants into teams for
the duration of the charette.
(S. Thiagarajan. personal communication. January 27, 2015).
Figure 39a. Knowledge Hunt + Hellos.
DESIGN CHARETTE DETAILED ACTIVITY WRITE-UPS
87
FUNCTION CARDS
Introduce organisms and design principles, transition from directional to lateral thinking.
Preparation
Pin all function cards around the room so that they are easy to read yet out of the way of the
working walls.
Cover up the design principles with sticky notes until the last step of this activity.
Facilitation
Have each participant investigate a function card (complete with function, strategy, mechanism and design principle), attempting to understand the card structure and format. (10
minutes)
Divide participants into groups of no more than three individuals.
Distribute a unique function card with the design principle missing to each group.
Have groups define a design principle for the card through discussion. (10 minutes)
Remove the sticky notes covering the design principle from function cards on the wall so that
participants can compare the design principles they defined to the ones provided.
Encourage participants to process and discuss the information. (10 minutes)
Duration: 30 mins
Materials: 3 copies of 10 different function cards with design principle, 3 copies of 10 different
function cards without design principle
Baumeister, D., & Tocke, R. (2013). Biomimicry resource handbook: A seed bank of best practices. Missoula, MT:

Biomimicry 3.8.
88
APPENDIX
Figure 40a. Function Cards.
KINESTHETIC MODELING
Collaboratively build a three-dimensional model to explore other ways of knowing.
Preparation
Cover a working surface with white paper. Organize tchotkes into similar shape and size
groupings on a separate table.
Facilitation
Announce to participants the design problem which they are to use to frame the construction
of their model.
Have participants collaboratively build a model (in silence) with tchotkes. (30 minutes)
Encourage participants to view their finished model from multiple perspectives for the next
steps.
Ask for one person person to scribe on the working surface next to the objects, in a marker
of one color, descriptions the participants voice aloud as they explore the model. Ask participants to describe the model and all its parts and pieces very literally.
Next, have the scribe use a different color marker, and record interpretations the participants
voice aloud, assigning meaning to the literal descriptions and constructions.
Discuss the narrative the model conveys, writing down anything that helps the group agree
upon that narrative (no specific format is required).
If the group chooses to write at this stage, use a different color marker.
Give the piece a title, in yet another color.
Duration: 120 minutes

Note:
Cover a working surface with white

paper. Organize tchatchkas into
similar shape and size groupings on a
separate table.
Figure 41a. Kinesthetic Modeling.
89
CUP ORIDDLES
To offer a mental break away from the charettes focus, get participants to interact with someone they may not know and to also encourage collaboration.
Preparation
Write a riddle on the side of a paper cup and the corresponding answers on the bottom of
a separate cup. Cups are numbered in pairs so that matching numbers have the answers to
each others riddles.
Stack cups at snack tables.
Leave a note on the snack table so participants know someone else with a matching number
on their cup holds the answer to the riddle on their own cup.
Riddles with answers:
What has rivers but no water, forests but no trees, and cities but no buildings? A map
What can run but never walk, has a mouth but never talks, has a bed but never sleeps, has a
mouth but cannot eat? A river.
What is the thing that comes in sheets but cannot be folded or gathered? Rain.
Weight in my belly, trees on my back, nails in my ribs, feet I do lack. What am I? A boat.
Materials: Paper cups, markers, riddles.
Dave. (2011, Jan. 10) Riddle Friday sharpens design thinking. [Zurb Blog]. Retrieved from http://zurb.com/article/536/
riddle-friday-sharpens-design-thinking
90
APPENDIX
Figure 42a. Cup ORiddles.
STRUCTURED STRETCH
To invigorate and energize participants between activities
Facilitation
Guide participants with vocal instructions as well as by physically demonstrating and participating in the following stretches:
Stand with their feet shoulder width apart.
Close eyes and hang head to chest.
Rotate head slowly (2-3 times) counterclockwise and then clockwise.
Spread arms wide and slowly rotate them forward (then backward) 2-3 times.
Keeping arms straight, clasp hands together and rotate side to side, then in rainbows above/
behind
the head.
Lunge to each side, with one knee bent.
Bend forward and touch toes (if possible).
Rotate feet about the ankle (standing on one foot if possible, using a wall or chair to balance if
necessary).
Stretch quads (grab opposite foot near the butt) using a balance assist if necessary.
Press hands against wall (or floor), stretching each calf (first with both legs straight and then
with one knee bent).
Shake it out (wiggle individual muscles or entire body around).
Clap once.
Duration: 10 mins
Note:
If weather permits, this activity is

especially refreshing when facilitated
outdoors.
Figure 43a. Structured Stretch.
91
THIS IS NOT A...
To exercise the imagination and encourage lateral thinking.
Facilitation
Ask participants to stand and form a circle. (For large groups, break into circles of no more
than 10 participants)
Ask one participant to be the leader.
Tell the group that they are going to pass around an object, describe it as something other
than it is, and then demonstrate using that object as its new identity.
For example:
The leader, (Person A), holds the object (stick, for example) and says, This is not a stick, it is
a ___ (comb, for example) and then demonstrates using the stick as a comb, making appropriate motions and sound effects.
The leader then passes the stick to the person on his left (Person B).
Person B then repeats Person As demonstration of the comb, copying their movement and
sound as accurately as possible while saying, This is not a comb. This is a ___, filling in the
blank by giving the stick yet another identity.
And so it goes, around the circle until the object is back with the leader. If time permits, introduce a new object, and complete another round.
Duration: 30 mins
Materials: Objects to pass around.
Note:

outdoors.
92
APPENDIX
PYE Global. (2011). Creative facilitation activities manual. Retrieved from http://www.pyeglobal.org/wp-content/
uploads/2011/11/CreativeFacilitationManual.pdf
Figure 44a. This Is Not A.
DANCE TO THE MUSIC
To think critically about the kinesthetic model and discuss thoughts resulting from the modeling process or final model on a one-on-one basis with other participants.
Preparation
Have a song queued-up and connected to speakers.
Set up chairs (one for each participant) in pairs. A group of three chairs is acceptable for an
odd-numbered group of participants.
Facilitation
Ask participants to think about points they would like to discuss.
Instruct participants to dance around when the music plays, thinking about what they want
to discuss with the other participants, and when the music stops, participants are to sit in a
chair and have a conversation with the participant sitting next to them.
(Play music for 30 seconds, and pause the music for 30 seconds for each round. Remove two
chairs each round.)
If participants do not find a chair to sit in when the music stops, they are to have a discussion
at the working wall and record the conversation there.
Continue to play rounds, removing two chairs each round, until all participants are at the wall
recording their ideas.
Duration: Varies according to size of participant groups.

Materials: Music with speakers, chairs, markers, large writing surface on wall.
Figure 45a. Dance To The Music.
93
PASS AROUND THE STORY
To create cohesion among participants as they move towards their vision.
Facilitation
Ask participants to sit in a circle. (Each person should have a piece of paper and something to
write with.)
Instruct them that they will be writing a brief story (a few sentences) about what it is they are
trying to accomplish.
Instruct them to write down the first sentence to this story and STOP. Once everyone has
stopped, have them pass it to the person to their left.
Have the next person to get the story read the story and build on to it with the next sentence.
Repeat until the story returns back to its origin.
Once complete and everyone has a storyline in front of them that everyone else has contributed to, allow for each person to read their story to the rest of the group.
Duration: 20-30 mins

Materials: Paper and markers.
PYE Global. (2011). Creative facilitation activities manual. Retrieved from http://www.pyeglobal.org/wp-content/up
loads/2011/11/CreativeFacilitationManual.pdf
94
APPENDIX
Figure 46a. Pass Around The Story.
5 BOXES
To refine the vision.
Preparation
Draw five large boxes up on the wall with the following labels: Who, What, When, Where, Why.
Facilitation
Using the stories drafted in the Pass Around the Story activity, have each participant identify
the who, what, when, where, and why elements from their story and write them onto individual sticky notes.
Have participants place the sticky notes in the boxes on the wall.
Once all the sticky notes are in the boxes, have the participants discuss whats in each box,
and what stick notes they can maybe removing. They should be looking for redundancies or
obscure elements.
After the participants have removed all they see fit, have them rewrite a collective storyline
with the elements that remain.
Duration: 30 mins
Materials: sticky notes, markers, large writing surface on wall
Figure 47a. 5 Boxes.
95
4 SCENES
Understand the vision.
Preparation
Draw four large boxes on the wall with the labels following labels: Before (1st + 2nd boxes),
During (3rd box), and After (4th box).
Facilitation
Have the participants use the storyline from the 5 Boxes activity to create a 4-frame storyboard.
The storyboard should consist of primarily drawings, but participants can use written words
sparingly where needed to help explain drawings.)
Once finished, have the participants give their story a title.
Duration: 20-30 mins

Materials: sticky notes, markers and paper or a white board.
Liedtka, J., & Ogilvie, T. (2011). Designing for growth: A design thinking tool kit for managers. New York, NY: Columbia
Business School Pub.
96
APPENDIX
Figure 48a. 4 Scenes.
REDEFINE AND VOLLEY
To update and reiterate objectives through assumption reversal and collaborative input.
Preparation
Cover empty tissues boxes (one for each team) in white paper. Divide the participants into two
groups.
Facilitation
Have participants come to a group conclusion of what their main problem is and write it on
the wall.
Define the problem. Ask participants to offer suggestions as to what they foresee being the
main problem to achieving their goal, writing these problems on sticky notes, and posting
them to the wall.
Have participants group together any problems that are similar or related, and then rearrange them by priority.
Once they have reached an agreement of their most pressing problem, have them reverse the
definition of the problem (to form an anti-problem).
Give each group their tissue box and have one participant write the anti-problem on the side
of the box and toss it to the other group. (rotate boxes)
When the group receives the other groups anti-problem box, ask a participant to read it
aloud, and then write suggestions on addressing the anti-problem on sticky notes. Put all the
sticky note suggestions in the box, and toss it back to the original group. (If there are more
than two groups, continue so all groups get the chance to provide suggestions to each groups
anti-problem.)
When the group receives their box of crowd-sourced suggestions, have them read aloud the
suggestions. Then, ask participants to write the reversal of the suggestions from the other
group on sticky notes to form objectives to support their goal. Post the stick notes on the wall
for all the participants in the group to see.
Using the objectives and the problem and also incorporating insights from past activities,
have the participants in each group create objectives, identify resources and constraints.
Summarize on the board the group decisions: the problem, the goal (i.e., the anti-problem),
the objectives, the resources, and the constraints.
Duration: 45 mins
Materials: Sticky notes + Markers + paper/white board
Hohmann, L. (2007). Innovation games: Creating breakthrough products through collaborative play. Upper Saddle
River, NJ: Addison-Wesley.
Figure 49a. ReDefine and Volley.
97

Visioning Workshop
Table 2a-1.
Detailed Design Document.
98
APPENDIX
Table 2a-2.
Detailed Design Document. (continued)
STRATEGIC VISIONING WORKSHOP DETAILED DESIGN DOCUMENT
99
Table 2a-3.
100
APPENDIX
Table 2a-4.
101
Table 2a-5.
102
APPENDIX
Table 2a-6.
103
DETAILED
ACTIVITY
WRITE-UPS
Strategic Visioning
PRACTICE WHAT YOU PREACH

To prime participants for inclusive collaboration.
Facilitation
Have participants split into groups of no more than 4 participants.
Ask groups to collaborate to make a list of ideas that can encourage equal participation while
working in a group.
After the groups have created a list, ask one participant from one group what they
contributed to the list. Then ask the group if they did what they listed. Why or why not? (You
want to use a participant that did not do what they listed, so continue to question participants
until you find that example. Most participants will not be able to say that during this exercise
they did what they listed.)
After the participant replies that they did not do what they said should be done in a group
setting to encourage equal participation, say We all know some common best practices for
group work, but we seldom practice what we preach. Today ,lets try to do that.
Duration: 15 mins
Materials: index cards and markers
Note:
Do not reveal to participants the title

of this activity.
104
APPENDIX
Figure 50a. Practice What You Preach.
MANDALA
To explore personal interpretations of the vision and compare those with that of the group.
Preparation
make 3 diameter circles (one per each group).
Divide and cut into pie pieces, enough for each participant.
Facilitation
Ask them to close their eyes for a few moments and imagine what their vision will look and
feel like once it is realized. (30 secs)
Ask the participants to collage and/or draw a representation of what their individual vision
looks like when realized on their own pie piece. (5 mins)
Have participants share their individual visions (pie pieces), and then tape to the working wall
when done, forming a complete circle. (5)
Have participants identify commonalities and key elements that they can all agree represent
what their vision looks like when it is complete, and draw this in the vision circle (sun) of the 5
Bold Steps map. Make it bright, bold and colorful! (10)
Duration: 25 mins
Materials: large pieces of white butcher paper, scissors, glue sticks, markers and/or oil
pastels (great for smudging to produce lots of color quickly)
PYE Global. (2011). Creative facilitation activities manual. Retrieved from http://www.pyeglobal.org/wp-content/up
loads/2011/11/CreativeFacilitationManual.pdf
Figure 51a. Mandala.
STRATEGIC VISIONING WORKSHOP DETAILED ACTIVITY WRITE UPS
105
THIAGIS 35
To brainstorm and reach consensus on the five bold steps.
Facilitation
Hand out two blank index cards to each participant.
Have each participant silently answer the question What do you think is the most radically
important step to achieve the vision and record it on the card. (Do not let them see each
others statements.) Fold cards in half, hiding the statement.
Bring all the participants to standing in an open space. Without conversing or sharing, have
the participants move around, exchanging cards at random, for 20-30 seconds.
After time is up, have participants group into pairs. Ask them to discuss and compare the
importance of the steps on their cards. Then ask them to assign a number value to each step
so that boths steps add up to the number 7 and write these values on the BACK of their index
cards. Tell participants to avoid decimals.
Repeat the exchanging, discussing and assigning for a total of 5 rounds. After the 5th round,
have participants add up the total value of the card they are holding.
Ask participants to stand in a row.
Count down line up and begin counting down from 35. Have participants jump up and down
when the number on their index card is called out, and reorder themselves in order from
highest to lowest.
Have participants read the step on their cards, and use the highest scoring steps as the five
bold steps for the 5 Bold Steps map. Review steps and scores.
Establish the five highest scoring five as the five bold steps.
Duration: 10 mins
Materials: index cards and markers
106
APPENDIX
Figure 52a. Thiagis 35.
STOPLIGHT
To evaluate the current design with respect to the Lifes Principles.
Facilitation
Ask participants to assign their current design a red, yellow or green sticky note according to
whether the design fails to meet, touches on, or fully integrates a given Life Principle.
Have participants write a brief statement explaining why their design does or does not fulfill
the given Life Principle, and place that colored sticky note on the Lifes Principle poster.
Repeat this activity throughout the session with the following differentiations:
For the first iteration, focus on the full list of 26 Lifes Principles.
The second iteration of the activity should look to the abbreviated list of 18 Lifes Principles in
the Scoping Document.
The third iteration of the activity should again narrow the focus, this time concentrating on
the smallest set of selected principles (should be 5-7).
Duration: 40 minutes for the first iteration, 15 minutes for the second iteration, 10 minutes for
the third iteration.
Materials: Red, yellow, and green sticky notes and markers.
Figure 53a. Stoplight.
107
STRUCTURED STRETCH
To invigorate and energize participants between activities.
Facilitation
Guide participants with vocal instructions as well as by physically demonstrating and participating in the following stretches:
Stand with their feet shoulder width apart.
Close eyes and hang head to chest.
Rotate head slowly (2-3 times) counterclockwise and then clockwise.
Spread arms wide and slowly rotate them forward (then backward) 2-3 times.
Keeping arms straight, clasp hands together and rotate side to side, then in rainbows above
and behind the head.
Lunge to each side, with one knee bent.
Bend forward and touch toes (if possible).
Rotate feet about the ankle (standing on one foot if possible, using a wall or chair to balance if
necessary).
Stretch quads (grab opposite foot near the butt) using a balance assist if necessary.
Press hands against wall (or floor), stretching each calf (first with both legs straight and then
with one knee bent).
Shake it out (wiggle individual muscles or entire body around).
Clap once.
Duration: 10 mins
Note:

outdoors.
108
APPENDIX
Figure 54a. Structured Stretch.
SECRET ENERGIZER
To encourage participants to help each other remain alert and active.
Facilitation
Have participants write their name on an index card.
Ask participants to switch index cards over and over until they dont know whose they have or
with whom their index card ended up.
Instruct participants to take responsibility for energizing the person on their notecard whenever they sense that persons attention is waning. However, they should do so subtly and
without being discovered (i.e. their target shouldnt know).
Duration: 5 mins
Materials: Index cards and markers
Baumeister, D., & Tocke, R. (2013). Biomimicry resource handbook: A seed bank of best practices. Missoula, MT:

Biomimicry 3.8.
Figure 55a. Secret Energizer.
109
ROTATING HATS
To provide participants equal opportunity to contribute their perspectives throughout the

completion of the Hoisting the Sails Map.
Preparation
Label party hats as follows: 1 - captain, 1 - first mate, all others - deckhand
Facilitation
Have each participant wear a labeled hat. Each round will be 10 minutes during which one
participant will be the captain, one participant will be the first mate, and the rest of the
participants will be deckhands.
The participant with the captain hat will lead discussion on an area of the map with the help of
the first mate participant.
As topics come up, the deckhand participants will label them as anchors, treasure chests,
people or wind and then attach the labels to the map.
Have participants exchange hats so that everyone is the captain and the first mate once.
Duration: Use during the facilitation of the Hoisting the Sails Map Facilitation Tool as needed,
to enable equal contribution.
Materials: Party hats and markers.
110
APPENDIX
Figure 56a. Rotating Hats.
KINESTHETIC TIMELINE
To visualize the necessary steps to achieving a goal and giving the user a full frame perspective in an executable style.
Preparation
Cover a long table with white paper.
Prepare paper cut-out icons to represent a person (or group), a challenge, a requirement, and
a resource.
Facilitation
Have the participants stand around the table.
Identify one end of the table as the start of the timeline, and the other end as the finish.
Ask the participants to work together to draw a timeline and plot out the main activities
involved in the process of achieving their goal from start to finish.
After the participants have plotted the main activities within their timeline, instruct the
participants to label and describe each activity using the paper cut-out icons.
Materials: white butcher paper, sticky notes, markers, paper cut-out icons (25 of each
depending on complexity and length of timeline)
Note:
Use push pins on a cork board or foam

core board in order to be able to move
the timeline once completed.
Figure 57a. Kinesthetic Timeline.
111
TRANSFORMATIVE 360 REVIEW

To reflect on the days accomplishments.
Facilitation
Ask participants to do the following in this order:
Stand up.
Close your eyes.
Open your eyes.
Turn around 360*.
Reach your right arm across your body and tap your left shoulder three times.
Then, share the following with the participants:
When you leave today, you can go home and honestly say that today you were brought to
your feet, your eyes were opened, your perspective was turned completely around, and your
heart was touched.
Duration: 3 minutes
112
APPENDIX
Figure 58a. Transformative 360 Review.
PLUS-DELTA
To provide an outlet for anonymous feedback for participants that may benefit facilitators.
Preparation
Label one box with a green + (plus) and the other with a blue (delta).
Facilitation
Inform the participants that throughout the day they are encouraged to share positive
feedback and constructive criticism on index cards regarding an activity, an experience, the
entire day or anything else on which theyd like to comment.
Participants are to write positive feedback on green index cards and submit those comments
in the + (plus) box, and comments about things they would have like changed, or done
differently on blue index cards in the (delta) box.
Duration: 25 mins
Materials: blue and green index cards, two boxes, markers.
Gray, D., & Brown, S. (2010). Gamestorming: A playbook for innovators, rulebreakers, and changemakers. Sebastopol,
CA: OReilly.
Figure 59a. Plus-Delta.
113
114
APPENDIX
References
Class Readings
Barbour, A. (1976). Louder than words: Nonverbal communication. Columbus, OH: Merrill.
introduction. Plymouth, UK: AltaMira Press.

Martin, R. (2009). The design of business. Boston, MA: Harvard Business Press.
Neumeier, M. (2009) The designful company. Berkeley, CA: New Riders.
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REFERENCES
115
Tables
Figure 14.
Photo of Brittney Boudwin............................................................................................................................12
Table 1a.
Charette Detailed Design Document...........................................................................................................8586
Figure 15.
Photo of Dionis Carter.....................................................................................................................................12
Table 2a.
Strategic Visioning Workshop Detailed Design Document...............................................................98-103
Figure 16.
Photo of Mark Alan Hemphill.......................................................................................................................13
Figures
Figure 1.
Giant basket star. Copyright 2014, Greg McFall. ........................................................................... 08
Figure 2.
Photo of Cathy Sakas........................................................................................................................................10
Figure 3.
Photo of JenniferDay........................................................................................................................................10
Figure 4.
Photo of Sarah Fangman................................................................................................................................. 11
Figure 5.
Photo of Jenny Vader......................................................................................................................................... 11
Figure 6.
Photo of Alison Scott........................................................................................................................................10
Figure 7.
Photo of David M. Colas..................................................................................................................................10
Figure 8.
Photo of Lara Martino...................................................................................................................................... 11
Figure 9.
Photo of Marilyn Sobwick............................................................................................................................... 11
Figure 10.
Photo of Chris Dowell......................................................................................................................................10
Figure 11.
Susan Hall.............................................................................................................................................................10
Figure 12.
Photo of Darrell Kim Huffman...................................................................................................................... 11
116
Figure 13.
Photo of Mary Cirincione................................................................................................................................ 11
APPENDIX
Figure 17.
Photo of Lin Jenny Jiang.................................................................................................................................13
Figure 18.
Photo of Zach Nilsson......................................................................................................................................12
Figure 19.
Photo of Jos Paez.............................................................................................................................................12
Figure 20.
Photo of Luyao Cheng......................................................................................................................................13
Figure 21.
Photo of Eva Dunn.............................................................................................................................................13
Figure 22.
Photo of Tyler Leppek......................................................................................................................................12
Figure 23.
Photo of Sandra Montalvo..............................................................................................................................12
Figure 24.
Photo of Jian Shi.................................................................................................................................................13
Figure 25.
Photo of Han Tian..............................................................................................................................................13
Figure 26.
Essential elements. Copyright 2013, Biomimicry 3.8. .................................................................. 14
Figure 27.
Lifes princibles. Copyright 2013, Biomimicry 3.8.......................................................................... 15
Figure 28.
Biomimicry Thinking. Copyright 2013, Biomimicry ..................................................................... 15
Figure 29.
Sandy Bottom. Photo by Jarod Halonen...................................................................................................16
Figure 30.
Photo of NOAA/community interactions................................................................................................18
Figure 31.
Photo of a diver picking up trash around Grays Reef....................................................................... 19
Figure 32.
French Angelfish swimming in the Caribbean Sea. Copyright 2008, Tony Rath............ 22
Figure 33.
Sea star. Copyright 2014, Greg McFall. ............................................................................................. 24
Figure 34.
Lemon shark and remoras fish. Photo by Bernard Radvaner....................................................... 26
Figure 35.
Spotted cleaner shrimp. Copyright 2007, Weedmandan. ........................................................ 28
Figure 36.
Whale shark passed by drifting sargassum with colony of minnows. Copyright 2009, Shawn
Heinrichs............................................................................................................................................................30
Figure 37.
Sea cucumber. Photo by Jarod Halonen................................................................................................ 32
Figure 38.
Jellyfish. Copyright 2014, Greg McFall. ............................................................................................ 34
Figure 39.
Coral reef polyps. Copyright 2014, Greg McFall. .......................................................................... 36
Figure 40.
A screenshot of the Design Charette Video. ........................................................................................ 38
Figure 41.
Luyao, Kim and Jenny working on design principles. .................................................................... 40
Figure 42.
Jenny building kinesthetic model..............................................................................................................41
Figure 43.
Close up of kinesthetic modeling.............................................................................................................. 42
Figure 44.
Cathy and other participants during Pass Around the Story........................................................ 42
Alison and Jenny story boarding during 4 Scenes............................................................................47

Figure 49.
Participants review Lifes Principles.......................................................................................................47
Figure 50.
Screenshot of Strategic Visioning Workshop Video......................................................................... 48
Figure 51.
Casting Off Map.............................................................................................................................................. 49
Figure 52.
Hoisting the Sails map.................................................................................................................................. 49
Figure 53.
Charting the Course map............................................................................................................................ 49
Figure 54.
Cathy, Mary, Susan, and Jennifer during the visioning workshop warm up, Practice What You
Preach.................................................................................................................................................................50
Figure 55.
Cathy, Sarah, and Susan creating their visions for success during the Mandala activity..51
Figure 56.
Marilyn transferring her vision to the wall......................................................................................... 52
Figure 57.
Sarah and Jian during the structured stretch.................................................................................... 52
Figure 58.
Jennifer during the structured stretch................................................................................................. 53
Figure 59.
Jennifer, Dionis, Jose, and Marilyn discussing their kinesthetic timeline............................. 54
Figure 60.
Group discussing next steps at the end of the visioning workshop.......................................... 55
Figure 61.
Action plan produced by client................................................................................................................. 56
Figure 45.
Chris, Dionis, and Luyao bringing their kinesthetic model to the board as a visual story..44
Figure 62.
Soft corals like this red gorgonian sea fan flourish in Raja Ampats swift currents. Photo by Sue
Hacking.............................................................................................................................................................. 58
Figure 46.
Visual storyline of one groups interpretation of kinesthetic model......................................... 45
Figure 1a.
Common lionfish at Shaab El Erg reef in the Egyptian Red Sea.................................................. 64
Figure 47.
Cathy and Kim during This Is Not A........................................................................................................ 46
Figure 2a.
Function card preview. ............................................................................................................................... 66
Figure 48.
Figure 3a.
TABLES AND FIGURES
117
Figures
Potato cod and cleaner wrasse................................................................................................................. 67

Figure 4a.
Yellow-margined moray eel with cleaner shrimp..............................................................................67
Figure 5a.
Scamp (mycteroperca phenax)................................................................................................................. 68
Figure 6a.
Hermit crabs..................................................................................................................................................... 68
Figure 7a.
Vase Sponge....................................................................................................................................................... 69
Figure 8a.
Sea of stars......................................................................................................................................................... 69
Figure 9a.
Acorn barnacles............................................................................................................................................... 70
Figure 10a.
24 Strangest Animals Found In Water.................................................................................................... 70
Figure 11a.
Oyster Restoration............................................................................................................................................71
Figure 12a.
Sand tiger shark (Carcharias taurus) at the Newport Aquarium..................................................71
Figure 13a.
Soft corals like this red gorgonian sea fan flourish...........................................................................72
Figure 14a.
Fiddler crab........................................................................................................................................................72
Figure 15a.
Leopard toadfish...............................................................................................................................................73
Figure 16a.
Sunlight and substrate influence marine organisms distributions............................................73
Figure 17a.
Sandy Bottom.....................................................................................................................................................74
Figure 18a.
Coral reef polyps..............................................................................................................................................74
118
APPENDIX
Figure 19a.
Giant basket star............................................................................................................................................... 75
Figure 20a.
Bottlenose dolphins......................................................................................................................................... 75
Figure 21a.
Blue whale........................................................................................................................................................... 76
Figure 22a.
Octopus vulgaris.............................................................................................................................................. 76
Figure 23a.
Spotted cleaner shrimp (periclimenes yucatanicus), commonwealth of dominica..............77
Figure 24a.
Lemon shark and remoras fish. Photo by Bernard Radvaner.........................................................77
Figure 25a.
Whale shark passed by drifting sargassum with colony of minnows.......................................78
Figure 26a.
Sea star.................................................................................................................................................................78
Figure 27a.
Regal sea goddess............................................................................................................................................ 79
Figure 28a.
Starry eyed hermit crab................................................................................................................................ 79
Figure 29a.
Sea cucumber................................................................................................................................................... 80
Figure 30a.
Jelly fish............................................................................................................................................................... 80
Figure 31a.
French Angelfish swimming in the Caribbean Sea.............................................................................81
Figure 32a.
Nesting ridley......................................................................................................................................................81
Figure 33a.
Seaweed blenny................................................................................................................................................82
Figure 34a.
Yellowline arrow crab...................................................................................................................................82
Figure 35a.
Blue crab.............................................................................................................................................................83
Figure 36a.
Common lionfish at Shaab El Erg reef in the Egyptian Red Sea. Copyright 2010, Alexander
Vasenin................................................................................................................................................................83
Figure 37a.
Double-Crested Cormorant........................................................................................................................84
Figure 38a.
Jelly fish...............................................................................................................................................................84
Figure 39a.
Knowledge Hunt + Hellos.............................................................................................................................87
Figure 54a.
Structured Stretch.........................................................................................................................................108
Figure 55a.
Secret Energizer.............................................................................................................................................109
Figure 56a.
Rotating Hats..................................................................................................................................................... 110
Figure 57a.
Kinesthetic Timeline........................................................................................................................................111
Figure 40a.
Function Cards................................................................................................................................................ 88
Figure 58a.
Transformative 360 Review....................................................................................................................... 112
Figure 41a.
Kinesthetic Modeling.................................................................................................................................... 89
Figure 59a.
Plus Delta............................................................................................................................................................ 113
Figure 42a.
Cup ORiddles................................................................................................................................................... 90
Figure 43a.
Structured Stretch...........................................................................................................................................91
Figure 44a.
This Is Not A.......................................................................................................................................................92
Figure 45a.
Dance To The Music........................................................................................................................................93
Figure 46a.
Pass Around The Story..................................................................................................................................94
Figure 47a.
5 Boxes.................................................................................................................................................................95
Figure 48a.
4 Scenes...............................................................................................................................................................96
Figure 49a.
ReDefine and Volley......................................................................................................................................... 97
Figure 50a.
Practice What You Preach.............................................................................................................................69
Figure 51a.
Mandala.............................................................................................................................................................. 105
Figure 52a.
Thiagis 35.........................................................................................................................................................106
Figure 53a.
Stoplight............................................................................................................................................................. 107
TABLES AND FIGURES
119
Figure 46b. SCAD logo.
120
APPENDIX
Figure 47b. NOAA logo.

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INSPIRE MARINE

INSPIRE MARINE STEWARDSHIP

2015 SCAD School of Design

Figure 1. Giant basket star.

For us, creativity is the foundation for turning new and

The creative process is characterized by the ability to perceive the

Chair of the Board of Trustees,

Superintendent, Grays Reef

Figure 4. Photo of Sarah Fangman.

Program Specialist, Grays Reef

Deputy Superintendent, Grays Reef

Figure 3. Photo of Jennifer Day.

Pluym Research Technician, NOAA

Figure 5. Photo of Jenny Vader.

Figure 7. Photo of David M. Colas.

Figure 8. Photo of Lara Martino.

Photography M.F.A. Candidate

Darrell Kim Huffman

Figure 12. Photo of Darrell Kim Huffman.

Board Member, Grays Reef Foundation

Figure 9. Photo of Marilyn Sowick.

Dolphin Project Volunteer

Figure 11. Photo of Susan Hall.

Dolphin Project Volunteer

Figure 13. Photo of Mary Cirincione.

The Design Team

Mark Alan Hemphill

M.A. Design for Sustainability

Lin Jenny Jiang

THE DESIGN TEAM

The practice of biomimicry embodies

Biomimicry is the conscious

The ethos element forms the

The (re)connect element

The emulate element brings the

Figure 27. Lifes Principles. 2013, Biomimicry 3.8.

Biomimicry Thinking provides context to where,

Figure 28. Biomimicry Thinking. 2013, Biomimicry 3.8.

Figure 29. Sandy Bottom.

In general, scoping occurs prior to actual design and

In July 2014, Grays Reef released a

Figure 30. Photo of community interaction with Grays Reef.

Figure 31. Photo of a diver picking up trash around Grays Reef.

THE SCOPING DOCUMENT

Research Questions for

What would a strategy look like that connects

How does nature (reef ecosystems in particular)

adopt strategies that

seek high impactyet

1. Leverage Cyclic Processes

1. Use Low Energy Processes

2. Maintain Integrity Through

2. Use Readily Available Materials

2. Use Multi-Functional Design

3. Embody Resilience through

3. Use Feedback Loops

3. Recycle All Materials

THE SCOPING DOCUMENT

Figure 32. French Angelfish swimming in the Caribbean Sea.

While some may blend research commonly in the

Figure 33. Sea star.

Pry open preys shell and deploy stomach within.

Our design should deploy its internal structure into other

Figure 34. Lemon shark and remoras fish.